TRISH CLOWES
Trish Clowes is a saxophonist and composer based in
London, now concluding her tenure as a BBC Radio 3 New Generation Artist. Her
third album ‘Pocket Compass’, out now on Basho, features a quintet with Gwilym
Simcock on piano as well as the BBC Concert Orchestra on three tracks. The
album will be launched at a special show in the London Jazz Festival on 18th
November (also featuring Guy Barker and the BBC Concert Orchestra). Trish has
successfully curated her own festival, Emulsion, investigating interaction
between contemporary classical music and improvisation. Other projects include
a new trio with organist Ross Stanley and guitarist Chris Montague and Barbara
Song, a collection of Kurt Weill songs originally arranged for Barbara Thompson
to play with string quartet (arrangers include Mike Westbrook, Mike Gibbs and
Barbara Thompson).
Of her favourite albums, Trish says
Of her favourite albums, Trish says
LOOSE TUBES – Delightful Precipice
IAIN BALLAMY – All Men Amen
I first came across Loose Tubes on a cassette that Steve Berry had made for another musician that eventually made its way into my hands. The music is fun, raucous and really individual, with plenty of personality. It was something I heard when I was quite young and it felt like something you could enjoy if you hadn’t quite yet worked out what was going on.
Hearing Loose Tubes then directed me to seek out more of Iain Ballamy’s music, and he has been a major influence and mentor for me. All Men Amen features some fascinating approaches and techniques. There is one piece where Iain overdubs himself playing and this seemed very new to me. There’s also an exciting moment where he removes the mouthpiece from the saxophone, which creates a very unusual effect. There’s also Django Bates playing Tenor Horn, which is always fascinating.
WAYNE SHORTER – High Life
Wayne Shorter has long been a major inspiration, even more so on my new album, which was partially inspired by my trip to California to meet him. There is a track on the album called Wayne’s Waltz which specifically acknowledges his importance. High Life won Grammy awards, but it confused critics at the time of its release. I adore it for its individual sound and for me, knowing this recording is a benchmark of how well someone know's Shorter's music. Sometimes I just wake up wanting to listen to this!
IAIN BALLAMY – All Men Amen
I first came across Loose Tubes on a cassette that Steve Berry had made for another musician that eventually made its way into my hands. The music is fun, raucous and really individual, with plenty of personality. It was something I heard when I was quite young and it felt like something you could enjoy if you hadn’t quite yet worked out what was going on.
Hearing Loose Tubes then directed me to seek out more of Iain Ballamy’s music, and he has been a major influence and mentor for me. All Men Amen features some fascinating approaches and techniques. There is one piece where Iain overdubs himself playing and this seemed very new to me. There’s also an exciting moment where he removes the mouthpiece from the saxophone, which creates a very unusual effect. There’s also Django Bates playing Tenor Horn, which is always fascinating.
WAYNE SHORTER – High Life
Wayne Shorter has long been a major inspiration, even more so on my new album, which was partially inspired by my trip to California to meet him. There is a track on the album called Wayne’s Waltz which specifically acknowledges his importance. High Life won Grammy awards, but it confused critics at the time of its release. I adore it for its individual sound and for me, knowing this recording is a benchmark of how well someone know's Shorter's music. Sometimes I just wake up wanting to listen to this!
LESTER YOUNG & OSCAR PETERSON – Lester Young with the
Oscar Peterson Trio
This may seem like cheating as some consider it to be a compilation, but it was in fact assembled from recordings during a specific club residency. I remember a conversation with John Patitucci, mostly about Wayne Shorter, in which he asked me whether I had investigated Lester Young. At the time, I hadn’t heard nearly enough of his music, and I became immersed in these recordings, doing lots of transcribing. It was totally different from anything I’d been doing before, and so melodic.
JONI MITCHELL – Don Juan’s Reckless Daughter
Of all of Joni Mitchell’s great albums, this is the one for me. It came out in 1977 and delved even deeper in to the jazz influences that had been informing her work for the previous few years. It confused some rock critics – but it’s brave and incredible. The cast list of musical collaborators is amazing – Jaco Pastorius, Wayne Shorter, Don Alias, Airto and some arrangements by the great Mike Gibbs. Paprika Plains, which took up the entirety of the second side of the original double vinyl, is a masterpiece.
LEE KONITZ – Motion
I became drawn to this during a period when I was working hard on my alto playing. The interplay with drums and bass is thrilling and there is a complete genius to Konitz’s lines. They are so long and fluid.
This may seem like cheating as some consider it to be a compilation, but it was in fact assembled from recordings during a specific club residency. I remember a conversation with John Patitucci, mostly about Wayne Shorter, in which he asked me whether I had investigated Lester Young. At the time, I hadn’t heard nearly enough of his music, and I became immersed in these recordings, doing lots of transcribing. It was totally different from anything I’d been doing before, and so melodic.
JONI MITCHELL – Don Juan’s Reckless Daughter
Of all of Joni Mitchell’s great albums, this is the one for me. It came out in 1977 and delved even deeper in to the jazz influences that had been informing her work for the previous few years. It confused some rock critics – but it’s brave and incredible. The cast list of musical collaborators is amazing – Jaco Pastorius, Wayne Shorter, Don Alias, Airto and some arrangements by the great Mike Gibbs. Paprika Plains, which took up the entirety of the second side of the original double vinyl, is a masterpiece.
LEE KONITZ – Motion
I became drawn to this during a period when I was working hard on my alto playing. The interplay with drums and bass is thrilling and there is a complete genius to Konitz’s lines. They are so long and fluid.
CHARLES LLOYD – Forest Flower
I think I first heard this when I was about 17. At this point, I was still playing a lot of piano so it was thrilling to hear Keith Jarrett in this ensemble context. This recording, like most of Lloyd’s work at the time, is all about the vibe of the band, which is tremendously exciting.
ASTOR PIAZZOLLA – Tango: Zero Hour
The great bandoneon player and composer Astor Piazzollacalled this ‘absolutely the greatest recording I have made in my life.’ I had something of a Tango phase – and the Tango for saxophone and cello that I recorded recently for BBC Radio 3 is a reincarnation of a Tango I wrote when I was about 20. There was also an interesting Thomas Ades tango that I enjoyed, at the end of Powder Her Face. There are so many different and interesting textures in the music, and it has similarities with jazz in its combination of form and improvisation. This is really vibrant music.
I think I first heard this when I was about 17. At this point, I was still playing a lot of piano so it was thrilling to hear Keith Jarrett in this ensemble context. This recording, like most of Lloyd’s work at the time, is all about the vibe of the band, which is tremendously exciting.
ASTOR PIAZZOLLA – Tango: Zero Hour
The great bandoneon player and composer Astor Piazzollacalled this ‘absolutely the greatest recording I have made in my life.’ I had something of a Tango phase – and the Tango for saxophone and cello that I recorded recently for BBC Radio 3 is a reincarnation of a Tango I wrote when I was about 20. There was also an interesting Thomas Ades tango that I enjoyed, at the end of Powder Her Face. There are so many different and interesting textures in the music, and it has similarities with jazz in its combination of form and improvisation. This is really vibrant music.
KRONOS QUARTET/LONDON SINFONIETTA/MICHAEL COLLINS – John
Adams: Gnarly Buttons/John’s Book of Alleged Dances
These John Adams pieces are fascinating and have indirectly influenced some of my recent arranging work. John’s Book of Alleged Dances is a piece for string quartet and prepared piano. It might be seen as minimalist, although Adams wouldn’t describe his work in this way. It has tremendous energy and very interesting textures. Gnarly Buttons is a piece for clarinet and chamber ensemble that nods in the direction of Benny Goodman. It contains beautiful melodies and interesting grooves. It’s clever without putting up any brick walls.
KENNY WHEELER – Flutter By, Butterfly
Pete Churchill introduced me to this while I was studying at the Royal Academy of Music, learning more about how to sculpt small band tunes. There are so many tunes on here that I know well and love playing, particularly Miold Man. There is so much movement in and out of complex harmony with very free playing. The time feel between John Taylor and the under-recorded drummer Billy Elgart is remarkable – it is so fluid and individual. It was very inspiring to hear many great musicians talk about Kenny’s astonishing contribution to music at the recent memorial.
These John Adams pieces are fascinating and have indirectly influenced some of my recent arranging work. John’s Book of Alleged Dances is a piece for string quartet and prepared piano. It might be seen as minimalist, although Adams wouldn’t describe his work in this way. It has tremendous energy and very interesting textures. Gnarly Buttons is a piece for clarinet and chamber ensemble that nods in the direction of Benny Goodman. It contains beautiful melodies and interesting grooves. It’s clever without putting up any brick walls.
KENNY WHEELER – Flutter By, Butterfly
Pete Churchill introduced me to this while I was studying at the Royal Academy of Music, learning more about how to sculpt small band tunes. There are so many tunes on here that I know well and love playing, particularly Miold Man. There is so much movement in and out of complex harmony with very free playing. The time feel between John Taylor and the under-recorded drummer Billy Elgart is remarkable – it is so fluid and individual. It was very inspiring to hear many great musicians talk about Kenny’s astonishing contribution to music at the recent memorial.
For more information visit www.trishclowes.com
and www.bashorecords.com
Click on album cover to read our review.
