Mike Allen On His New Album Honouring Bob Murphy and His Upcoming Vancouver Island Tour with Miles Black
Vancouver saxophonist Mike Allen releases a new duo album January 10 featuring tunes recorded with Bob Murphy and Miles Black. He’ll be touring Vancouver Island with Miles later this month to promote the album. Island Jazz interviewed Mike by email to learn more about the genesis of Bob’s Piano, his tribute to the late Bob Murphy.
1. How did the new album Bob’s Piano come about?
I wanted to do something that would honour Bob Murphy, who died rather suddenly in the fall of 2015. He and I enjoyed getting together to play duo at his home. We played together in other groups as well but the duo playing was always especially memorable. He often recorded our sessions and we talked about releasing an album some day. There was a handful of tracks I could release from those sessions but not enough for a full album so with the blessing of Bob’s partner Monique, Miles Black and I recorded for an afternoon on Bob’s piano with the intention of completing what was an unfinished album that was years in the making. The album is a tribute to Bob; it features recordings of him with me playing mostly standards, and me with Miles Black playing mostly Bob’s tunes, and it was all recorded with Bob’s beloved piano.
2. Did you have a particular vision in mind?
The vision was an album conveying the spirit of our informal playing sessions: loose and uninhibited, taking chances and exploring possibilities.
3. For readers who might not know too much about Bob can you say a bit about his place on the Canadian jazz scene, the kind of person he was, and what he meant to you personally.
When I arrived in Vancouver in the mid ’90s I learned very quickly that Bob was a highly-regarded artist, a respected musical force. His reputation seemed to involve all the kinds of traits you want to associate with as a serious musician: he was focused, flowing, and always tuned in to the bigger picture; he just loved playing good music and exuded joy when doing it. Being on the west coast he was probably not as widely known as he should have been, but he was revered within the broader jazz community and knowledgable jazz listeners knew he was a treasure.
4. When did you first meet him and play with him? What was that like?
I met him on my very first gig in Vancouver at Carnegie’s where he held down a weekly duo gig. It was a hopping, trendy bar on Broadway but we treated it like we were at the Village Vanguard; we didn’t hold back. We played classic jazz tunes like Stella By Starlight, Autumn Leaves and Body And Soul, repertoire that we could come together on with no rehearsal. Bob was serious and slightly aloof at first – he probably wasn’t sure if I could hang musically at his level. He warmed up to me fairly quickly.
5. What about Miles Black?
While Bob and I played together occasionally, Miles and I have shared a very active and fruitful musical journey that started some months after I met Bob. Miles has been a member of my quartet since 1996, we run a big band together (MMJO) and taught together at Western Washington University from 2010-15 when I was the jazz director there. He is on seven of my albums, we have toured across Canada and in Europe together. Miles is one of the finest collaborators you could ever hope to have.
6. The album features four tunes recorded with Bob and six with Miles. How are they different in their approaches as players and how has that influenced your playing? Can you maybe give an example or two from the album?
The way Bob and I play together is like two swans swimming in circles around each other on a calm pond, aware of each other’s presence, locked together in a dance but independent. Track #7 Stella By Starlight is a good example of how we can do our own thing at the same time and somehow it just works. Miles and I play together very differently – we play the same ideas just offset from one another, leaving more silence for listening. We always seem to find our musical direction through interacting as on track #1 Nothing Changes.
7. You’re touring the island with Miles in January. What should audiences expect?
Naturally we’ll be playing some of the music from the new album. We both like to explore all the facets of duo playing. We take turns leading and following with an ear to balance, texture and dynamics. We always try to support each other in whatever way the music leads us. Audiences can expect to go on a rewarding journey with us – a dialogue in which they will be aware we play with them in mind at all times. I hope listeners will feel uplifted.
Mike Allen and Miles Black appear in Victoria on Thursday, January 26 at 7:30 pm at Tom Lee Music Hall on Millstream Rd. (Tickets: $25 door, $20 in advance, available at Tom Lee Music); in Nanaimo on January 27 at 8pm at the Nanaimo Conservatory of Music (Tickets $25 door, $20 in advance at Arbutus Music and Fascinating Rhythm); in Cumberland on Saturday, January 28 at 8pm at Studio Live (Tickets $25 door, $20 advance at Bop City Records, Courtenay; Rider’s Pizza, Cumberland; Church Street Bakery, Comox ); and in Parksville on Sunday, January 29 at 2:30 pm at the McMillan Arts Centre (Tickets are $20 door/$17 OCAC members, available at the MAC office).
More info at mikeallenjazz.com
Drummer, drum instructor and band leader Jon Miller lived in Montreal, Philadelphia and Amsterdam before locating to the west coast in 1999. He holds a B. Mus in Jazz Performance from McGill University and has studied drums with Alan Dawson, Martin Bradfield, Peter Magadini, Louis Williamson, Marvin “Smitty” Smith and Barry Elmes. He’s shared the stage with (among others) Jeff Healey, Charlie Hunter, Skip Bey, Vic Vogel and Hugh Fraser. Jon currently divides his time between teaching drums at Groove Studios and the Jon Miller Drum Studio as well freelance playing and leading his own groups including the Jon Miller Quartet. He released a new album this year Three Days in Winter which has enjoyed a lengthy stay on the college jazz charts. Island Jazz interviewed him recently by email.
How did you get into jazz and what are your main influences?
My parents were into jazz, though not in a major way, still my dad talked about getting a huge kick out of hearing the entire Basie orchestra in a tiny club in New York, and there were Dave Brubeck, Art Blakey and Charlie Bird records in the family record collection. This was the backdrop I guess but jazz really happened for me because of a drum teacher I had in Sudbury, Ontario named Philip May. Phil had been to Berklee School of Music and was headed to York University in Toronto at the time he was my drum teacher. His drumming was really flamboyant and had a lot of personality, and he is also a really friendly, funny and intelligent person. He kind of opened my eyes to the idea of jazz as a living art form and he got me listening to drummers like Tony Williams and Al Foster with Miles Davis, Max Roach with Charlie Parker, Peter Erskine with Weather Report and Jack DeJohnette with Pat Metheny and others, and I also started to appreciate the my parent’s Brubeck and Blakey records. I wasn’t anywhere near understanding most of what was going on in the music yet but I was starting to appreciate it and to hear beyond what I had been listening to and playing up to then (punk, rock, prog rock and country, touring with a country band as a teenager). This led to studies at York University and eventually McGill. Along the way I got to study with Peter Magadini, Barry Elmes, Lou Williamson and Alan Dawson who were definitely influences along with the musicians I’ve already mentioned.
Do you have a particular musical philosophy?
This might seem like a roundabout answer but here goes: my dream radio station would play an eclectic mix of just good music regardless of genre or whether it is considered to be art music or commercial. Of course this is highly subjective but to my ears most music stations whether commercial or not tend to play one good track and then a lot of relative duds because they are locked into a format where they have to keep that style or particular vibe going…My dream station would cherry pick stuff played by all of the types of stations from all genres, along with things you never normally hear on the radio so as to just keep the good stuff coming.
In playing music I resist the idea that anything is off limits for the sake of fitting into a particular format. For example I think its great that one a reviewer described a track from 3 Days in Winter as channelling Captain Beefheart while picking up on a Miles Davis reference in another.
I love playing things that people know and are familiar with but its also very rewarding to play new music for the very first time. Playing a wedding or something is not a big a deal for me, I’ll shoot for the best bossa-nova I’ve ever played in moments like that, even if the audience is not in a position to pick up on this intent. In a different setting I’ll want to dig a little deeper to try to express through music something I think really needs to be said.
You’re originally from Montreal and have spent time in Philadelphia and Amsterdam. What inspired your move to the west coast in 2003?
Saying I’m from Montreal is a shorthand since where I’m from and grew up is more complicated. I was born in Pullman, Washington, and lived in Alberta and Ontario as a kid but spent a lot of time in Montreal later and I feel very at home there despite (or in part because of) the language thing. (I learned French in my 20s, nearly verging on fluency on a good day.) Also my wife April is from Montreal and we go back fairly frequently. Moving to the west coast was supposed to be temporary so my wife could do a one year teaching position at Uvic. Now 16 years later she’s tenured in the Department of Anthroplogy and we’re still here! I love the West Coast but I have no illusions about Victoria being any match for the dynamism of a larger center, but by the same token the larger cities I’ve lived in don’t have a lot of the things we take for granted here.
How do you find the jazz scene here compared to other centres you’ve lived?
Of all the places I’ve lived Philadelphia has the richest heritage of jazz. While there I studied with a drummer who had studied with Philly Joe Jones and another who worked regularly with Pat Martino. At a jam session I met an older drummer who had just gotten a call from Sonny Rollins who wanted to do some playing. Also the Eubanks family are from there and Orrin Evans was an up-and-coming pianist at that time. Drummer Ralph Peterson and pianist Uri Caine were around and playing a lot, and drummer Mickey Roker had a house gig at a club called Ortlieb’s JazzHaus. Sun Ra had passed away by then but the remaining members of the Sun Ra Arkestra were all living in a house in the Germantown neighbourhood and Rashied Ali who had played with John Coltrane hosted a concert at a Jazz and Cultural centre where I was doing some teaching. So the scene was very active and had a proud history but it was an eye opener for me to see how many of these great players were really struggling to get by. But there was also a dynamism to the scene there that I haven’t seen in other places, for example a neighbourhood bar featuring live music by a senior-citizen organ trio called Nate Wiley and the Crowd Pleasers which was “discovered” by a young art-student crowd and transformed pretty much overnight into a hip and bustling hangout where the live music was actually the real deal. (https://vimeo.com/36992448 for 4 minute documentary on this impossible-not-to-like band and bar in Philly)
I would say Victoria like many of the other scenes I have witnessed has many fine players and groups who are just as good and sometimes better than people you could hear in larger scenes on a regular basis. It’s not hard to find good players to play with -there’s no shortage of talent here- but many musicians I know echo the sentiment that it if feels like you have to create your own scene. A jazz warehouse collective is an idea people talk about, although it would be a lot of work to get off the ground.
Tell us about the music on your most recent album Three Days in Winter. How is this album different from Orchidology which you recorded in 2009?
As a group we functioned more as a collective going into this latest project, with everyone contributing music equally and each member essentially leading the band when we rehearsed their compositions. I really love the diversity of writing voices; I think it creates something that is more than the sum of its parts. Also we knew we were making an album going in! Orchidology was a fun and rewarding project for sure but it really started out as a demo which got expanded along the way.
You recorded it with Brent Jarvis in his studio. Tell us about the recording process. Mostly live off the floor?
Brent has a great ear for what we wanted to do and knew implicitly the type of sound we wanted to get, so recording at his studio was the easiest thing. So yeah, mostly live off the floor, a little editing for the better ending here, a better solo there. There were a couple of tunes we wanted to get into the right mood for, studio day time vs club at night has some differences. We made the CD in three sessions, hence the album’s title. I’ve lost track now but it would be interesting to note which takes come from which days….I have a distinct memory of the blustery yet sunny weather out the studio windows when we recorded the opening track Vitamin D on the last day.
What motivates you to make an album, particularly in this age of Spotify?
Something I haven’t figured out yet is how can you attract attention or create excitement for an online-only release? People who enjoy our live show and want to hear more can download or stream my albums or individual tracks at Bandcamp (sounds like a plug because it is!) which is a wonderful option but many of them still want to take home a physical product. It would feel weird not to have this option to offer off the bandstand. That said on a strict dollars-and-cents point of view I might need my head examined for making a CD (but it depends on how you look at it).
If (or when) the CD disappears I think musicians will still continue to format their output in albums as opposed to singles. Personally I don’t understand the appeal of buying music in singles-only form but I’m old school, having grown up with vinyl. In the 1970’s a great album was one you could play from beginning to end and would take you along with it. Of course many one-hit-wonder artists ruined it by having one good song and the rest duds but jazz artists and musicians like Stevie Wonder, the Stones, Zeppelin and on and on where in the habit of making albums as a set of songs you could enjoy from beginning to end (and want to flip the album over for!)
Drummer, songwriter, teacher and bandleader James McRae has played with everyone from Colin James to Marc Atkinson and Miles Black. He was born in Toronto but moved to Vancouver when he was fourteen. He’s lived on the Island since the 1980s and has long been an important part of the jazz scene here, including his time in the 1990s with the popular Victoria group Loose. In 2011 he released Slow Down, an album of original songs with a Brazilian flavour that received praise from across Canada. I interviewed McRae by telephone from his home in Nanaimo. An edited version of the interview follows.
How did you get into jazz?
Between twelve and nineteen I played along to records – Led Zeppelin, ZZ Top, The Who – I was more into prog rock actually which was off the beaten path. When I came back from travelling in Europe when I was nineteen, I decided to ask the Musician’s Association who the best drummer in Vancouver was so I could take lessons. They recommended Al Wiertz who played with Lenny Breau and a number of prominent people. He and other drummers in Vancouver, including Terry Clarke, had studied with Jim Blackley. When I went to Al, he said I’m going to teach you to play drums but jazz is the music I grew up on. I would go in and he would play the same three musical groups – the Miles Davis Quintet, the John Coltrane Quartet and the Bill Evans Trio – and show me how to play along through the Jim Blackley method and teaching ideology. After about half a year I realized I was enjoying that music. That was my indoctrination into jazz music.
What’s your musical philosophy?
There’s all these myriad influences you pick up as a musician. I think it’s a reflection of my own personality that I’ve never latched onto one particular sound or style that felt like that was it and that I had to cut everything else out of my life. On the food level the analogy would be liking all kinds of food and being really adventurous.
Everyone is different and you have to find your own place. Most of the people I play music with were born in some kind of suburb in urban Canada and they grew up with a bunch of different North American cultural influences. If you want to be someone who plays bebop – that’s coming out of a whole different cultural backdrop. Not to dishonour someone who wants to pursue a particular musical style … but I want to honour the fact that I live in a relatively small community on the west coast of Canada. What are my roots? What’s my heritage? And how do I incorporate that? That’s really my philosophy – getting into who you are and what’s unique about you.
How did your album Slow Down come about?
Ever since high school I’ve always dabbled on the piano – I’ve never taken lessons or studied with anyone formally but over the years, especially when I was living in Jordan River, I noodled on the piano to the point that I learned how to play jazz voicings on my left hand while I could solo on my right hand and that was just a part of me developing my songwriting ability. The evolution of that album is just the ongoing evolution of my ability to have an idea and present it to other people. The idea of Jennifer Scott singing without any words is very much coming out of Chick Corea’s Return to Forever, which goes back to the early influence of the Wayne Shorter album Native Dancer.
How did you choose the musicians for that album?
I had a longstanding relationship with Miles Black – I remember doing gigs with Miles when he was living in Victoria and I always had a positive rapport with him in terms of his outlook on music and so I felt Miles would be a good person to engage. He’d been working with Jennifer Scott and Rene Worst and they’d done some recordings together and I liked what I heard. I’d played a little bit with Rene – in 2000 I did a tour with Barbara Blair up to the interior with Tom Vickery and Rene was on those gigs. But basically it was the rapport Miles had with Rene and Jennifer – I liked that synergy and I thought it would be really good to include them all.
Talk about the recording process.
At the time in 2010 I was doing A Closer Walk With Patsy Cline – we did a lot of shows in the Vancouver area. Going in to do the recording I remember doing a bunch of country gigs and so we never rehearsed for that CD. We basically went into the studio and did the CD in a day. Miles layered some B3 organ on one or two of the songs but with the exception of that it was from the floor onto tape. We did mostly just two takes of the songs.
What about your role as drummer on the album?
When you play drums, especially in commercial music, you’re playing mostly a supportive role…there’s not the chance to improvise and play out. One of the reasons I think the CD worked really successfully is that I was coming out of that headspace of playing a supportive role [on the Patsy Cline gigs]. I was thinking of that CD as more an opportunity to do my songs, not as an opportunity to say ‘hey, look at me I’m a great drummer.’ Never really felt that way anyway and again that’s a reflection of my personality I suppose.
Notable Quotes from the Interview
“We’re all different and we all have a different place to go and I just want to try to honour that in other people.”
“I do enjoy working with young people maybe because they’re generally more open and less crystallized in their approach to what they’re doing.”
You can visit James McRae’s website, listen to his music and check out his playing dates here.
Dan Brubeck on Growing Up in a Famous Household, Living in Canada, and Recording a New CD with his Vancouver-Based Quartet
Drummer Dan Brubeck, who lives on the Sunshine Coast, will tour the Island with his Vancouver-based quartet in November to promote his latest CD, The Dan Brubeck Quartet: Celebrating the Music and Lyrics of Dave and Iola Brubeck. The double CD, recorded at The Cellar shortly before it closed, features bassist/vocalist Adam Thomas, saxophonist Steve Kaldestad and pianist Tony Foster. It’s a gorgeous live recording that sheds new light on Dave Brubeck’s compositional brilliance and the unheralded beauty of Iola Brubeck’s lyrics.
Island Jazz recently conducted an email interview with Dan Brubeck. I started by asking him about his childhood and how he ended up in Vancouver.
I’ll give you a brief history of my comings and goings. I was born in Oakland, California – pretty much everyone knows my dad was from the Bay area. We moved to Connecticut, outside of New York City, when I was very young. There were six of us kids and my dad was not getting enough time at home living in California, because he spent so much time traveling to Europe.The move to the New York area cut travel time in half, which allowed him to spend more time with all of us. I think that move was hard on my parents because they’d been in California for generations.
What was it like growing up in the Brubeck household?
People often ask me that. Obviously it was a very different upbringing than most people have had but to me it all seemed pretty normal. All of my brothers are great musicians, and when I was young, we spent a lot of time checking out music and playing together. The house was like a conservatory of music. There were a lot of different bands between all of us brothers and so that brought herds of other musicians around the house. Some of these guys are really successful now like Jerry Bergonzi and John Scofield who was in a high school band that my Brother Chris and I played in.
Then, of course, my dad had a lot of rehearsals at the house and so from an early age I got to hear great drummers like Joe Morello and Alan Dawson. We heard musicians like Gerry Mulligan and Paul Desmond from a very early age. Eventually we got a chance to work with these guys quite a bit. Of course, when I was really young, I had no idea how great these guys were. They were just friends of my dad that all happened to enjoy playing music together. The fact that they were some of the world’s greatest musicians eluded me at a preteen age.These guys were great mentors to all of us and very patient, I might add. They really encouraged us a lot.
How did you come to live in Vancouver?
I spent time in New York City and around Woodstock, New York, and then I got married and my wife at the time was very California-oriented, so we moved around California, up and down the coast, and wound up near Mendocino. After a few summers on the cold California coast we started getting interested in a warmer climate during the summers at least. Several friends I had mentioned Nelson, BC, and so we got a place there and eventually put our kids in school and ultimately got residency in Canada. Once we had our residency we felt like we needed to be closer to an airport and have more education choices for kids, so we decided to move to Vancouver. After about three years in the Vancouver area, I moved back to Nelson for a little while and then to the Sunshine Coast where I reside now. I think I’ve been in Canada at least eight years now – maybe longer. The physical climate and the political climate I guess is what brought us to Canada initially. I started getting active about moving when George Bush got elected for a second time. At that point I figured the chances of America recovering from that were pretty much zero.
How did the new CD come about?
At some point, I realized that there was a hole that wasn’t being filled, especially in the two family groups I work with. I was interested in doing something different with my dad’s compositions and I really wanted to shed some light on my mother’s lyrical contributions. People were not really aware of her. As it turned out, the bassist that I enjoyed working with so much, Adam Thomas, just happened to be a great vocalist as well. We played a whole lotta gigs together before I figured that out. Once I heard him sing, that opened a lot of doors. It’s kind of like having another gear having a vocalist to add to a jazz quartet. I’d never really done this with my dad’s music before. It is a completely different way of approaching his music. It’s also a very accessible way that adds a different dimension to his compositions.
Was there a particular moment you realized you wanted to showcase your mom’s lyrics?
I guess after my dad passed away, there was so much attention being put on him. My mom had put in an enormous amount of energy as a manager of his group in the early days and as a lyricist. My mom did a lot of the text for my dad’s classical compositions. They were a team in every sense of the word, but she always stayed behind the scenes. She passed away about a year after my dad and it became important to me that people realize that he would’ve had an extremely difficult time without her being behind him for seventy years. When she started to get sick, I felt it was important for her work to be recognized. That’s what prompted me to get a move on and get the CD out. It turns out she wrote quite a bit of the liner notes in her last days.
Why did you decide to do a live recording?
We recorded the CD at The Cellar in Vancouver. Adam had said that we could record our concerts with his portable studio. This was very early on in the project. I think we’d really only done one other gig at that point where we were featuring my mom’s and dad’s work. We realized that we needed a tape to get gigs with and to move the project along. I guess what we didn’t realize was how good it was going to come out. I was certainly happier with the results than I expected. I hadn’t done a live album in a very long time. In 1977 I did a Live at Montreux record with my dad and brothers. As a drummer, live or in the studio doesn’t make a hell of a lot of difference because you really can’t overdub to fix anything anyway. In the studio you lose the audience factor which really helps to generate energy and feeling.
Can you talk a bit about the Vancouver musicians on the project?
First of all, this project would really not have happened without Adam Thomas. I think he did a great job as a singer. He brought a soulful sweetness as the voice of this project. He has a great sense of pitch and doesn’t overplay the singing role. Critics have commented on his unpretentious approach to the music. I think that’s quite refreshing to hear from a jazz singer. I think we were all trying to respect and maintain the integrity of each of these compositions. So, it was not a “Look at me I’m singing kind-of-thing.” He simply was trying to convey the message of each lyric in a musical context.
Adam has a minimalist approach to his bass playing. That’s not to say that he is lacking in any ability, it’s a very musical approach. This is exactly how Gene Wright, the bassist with the Dave Brubeck Quartet approached this music. It certainly worked for them. As my dad used to say, “Someone’s got to hold down the fort.” When you hear Adam solo, there’s no mistaking that this guy’s got a ton of chops.
Steve Kaldestad brings a lot of fire to the group. His sax solos launch the band into another gear. It allows me to pick things up a notch as well and we can then create a lot of energy and excitement. You can hear the history of jazz sax playing in Steve, although his sound is completely original. He is certainly not copying anybody out there that I know of.
Tony Foster is a great pianist. He’s one of the most swinging piano players I’ve ever worked with. Tony has a difficult chair in this band since he’s in my dad’s role, but he manages to keep his identity in a music so associated with my dad’s style of playing. I find Tony’s open style really refreshing and relaxing to play with. It’s great to just fall into a groove and let it sit for a while. Tony is the king of that concept.
I guess I could say for all these guys that you can really hear a lot of history in each of their playing. I really love playing with all these guys.
How did you choose the tunes? There must have been a lot of material given the length of your dad’s career.
When Adam and I started looking at material, we were just looking for things that resonated with Adam. It was important to both of us that he could feel comfortable singing the lyrics and the message the lyrics were conveying. He needed a soul connection with each song, so he could really get behind it and be genuine with the music. There is a lot of music to choose from. Some of the songs which had lyrics we decided just to play as instrumentals, mostly for the reasons I mentioned above.
What were your main goals with this project?
One objective was to have the world hear this great group of musicians that I have the honor to work with. It was also important to me to present this music in Canada in a concert-like situation where people would actually listen and appreciate it. I would love to be able to work in Canada as opposed to flying around the world all the time. I also wanted to have my own group and expand as I go. Play whatever kind of music that pleases me. I think the music we are playing now is really important for people to hear. I also think people are interested in the history of this music. They want to know the story behind its creation and I have a lot of stories to tell.
The band is growing into this music and we are continuing to expand our understanding of it. There’s an amazing amount of depth to it lyrically and compositionally. I don’t think I’ll ever get tired of playing it. Of course, it’s always changing and moving and that’s the nature and beauty of jazz improvisation.
Editor’s Note: The Dan Brubeck Quartet plays Hermann’s in Victoria on Thursday, November 12. On Friday, November 13 they appear at the Simon Holt Restaurant in Nanaimo. Many thanks to Kerilie McDowall for setting up the interview.
Jill Townsend Big Band Releases Legacy: The Music of Ross Taggart: Island Jazz Exclusive Interview with Jill Townsend
About eighteen months ago Cory Weeds of Cellar Live Records in Vancouver proposed to Jill Townsend that her big band record an album of Ross Taggart originals to honour Ross who was only forty-five when he passed away on January 9, 2013.
The album was funded as a Kickstarter project and was launched June 30 at two concerts in Vancouver.
Many Islanders helped fund the project because Ross Taggart, who was born and raised in Victoria, was beloved on both sides of the water.
The album, which features some of the west coast’s greatest jazz musicians, can be purchased now at Cellar Live.
I recently interviewed Jill about the project by email. Here’s what she had to say.
IJ: Eighteen months after it began, your Ross Taggart project is finally done and the CD’s are on their way to project donors. How are you feeling now that it’s complete?
JT: Exhilarated, exhausted, satisfied, grateful to have been part of this project, and happy that it’s completed!
IJ: How did the launch in Vancouver go?
JT: The audiences for both shows were very receptive, and the band played beautifully. It was an emotional evening for sure, but here we were, celebrating Ross and his music, and celebrating the final result of this project.
IJ: How do you feel about the recorded results? Any favourite cuts?
JT: I’m very happy with the recording.Thanks to everyone in the band, and of course Chris Gestrin deserves special mention here; he did a fantastic job of recording, editing, mixing and mastering the CD. Each tune has a story of course- Legacy is one of my favourites, and TV Lunch was a tune I thought would work well for big band. Light at the End of the Tunnel is a gorgeous arrangement by Bill Coon, and is one of the highlights for sure. Bill Runge also contributed a lovely chart of Open Book.
IJ: You knew Ross Taggart’s music before, but what discoveries did you and Bill [Coon] make as you dug into the tunes and began arranging them for big band?
JT: Well, the fact that there were so many compositions to choose from to begin with! It was a somewhat difficult process at first to go through the boxes of music, but as we played through his compositions, we chose the tunes relatively quickly that we each wanted to arrange. Ross’ compositions’ are imaginative, colourful, joyous, and poignant. He wrote so many tunes for friends, or an event that took place, or something personal to him. Every note counts in Ross’ music.
IJ: How did your arrangements evolve as you took the charts to the band and started working with them?
JT: My goal for arranging is to have the chart finished and completed to my own liking before bringing it to the band. I’m not a fan of making too many changes afterwards. However, the benefit of rehearsal allows for a few quick fixes or changes. With any large ensemble, the timeline is always tight between rehearsal and performance!
IJ: Tell us about the recording process. How many days, how many takes, etc.? Challenges? Crazy moments? Inspirational moments?
JT: It was just after Christmas when we recorded, and took place over two and a half days, so really only three sessions plus a little extra time. That was challenging in itself, as it’s a busy time for most musicians. We had a lot of music to record in a short amount of time, so the sessions were very focused.Yes, there were some crazy moments for sure, but you know, that’s all part of the process when you have 17 or 18 musicians & personalities in one room!
IJ: You and Cory Weeds decided to go with donor funding through Kickstarter. Having been through it now, how do you feel about that approach to album funding? Do you recommend it?
JT: Absolutely! We had overwhelming response to this project, and being able to donate online made the process easier for contributors near and far, and across the globe. Also, contributors received project updates, so they were involved in the process as each stage of the project unfolded.Thank you to Cory Weeds, and to all of our contributors!
IJ: In the absence of decent government funding for independent jazz projects in this country do you think this is the way of future?
JT: Well, it’s one way for sure, and was a positive experience for us. Grant funding is still available, and as always, musicians have to be resourceful in finding various ways to present their music.
IJ: Any chance of getting the band over to Victoria for a performance of Ross’ music?
JT: Of course, I’d love to bring the whole band over to Victoria! At this point, Bill and I are planning to come over in early 2016 and perform some of the charts with Monik Nordine and the Monday Night Jazz Orchestra.
IJ: What’s next for Jill Townsend?
JT: We’re performing with Dr Lonnie Smith (B3 organ) in December, so I’m excited about arranging some new charts for that project.Planning to record another CD of original music by (guitarist/composer) Bill Coon and myself in the not-too-distant future, and there are a few other things simmering..which will be announced closer to the time. Check out jilltownsend.ca for future performances with the band.