ALEX GARNETT’S ‘Bunch of 5’ Deliver KO Punch
This is the third and final interview of our ‘saxophone trio’, and features Alex Garnett who is somewhat at dual purposes with his two tenor line-up quintet.
Garnett has been a mainstay on the UK scene for the last two decades, but only chose to release his debut album, the excellentSerpent (also released on Whirlwind Recordings) in 2011. Thankfully, we have not had to wait quite so long for the follow up, and in this interview I take the opportunity to talk to the saxophonist about his new ‘Bunch of 5’ group and their album Andromeda, and also find out why the debut album took so long coming.
Garnett has been a mainstay on the UK scene for the last two decades, but only chose to release his debut album, the excellentSerpent (also released on Whirlwind Recordings) in 2011. Thankfully, we have not had to wait quite so long for the follow up, and in this interview I take the opportunity to talk to the saxophonist about his new ‘Bunch of 5’ group and their album Andromeda, and also find out why the debut album took so long coming.
“My second album, Andromeda, is the debut disc of a new quintet known as Bunch of 5. It is formed from long running musical friendships being finally brought together to collaborate as a group for the very first time”, says Alex. “Aside from the strong personal input of the individual band members, adding to the palette their own concepts and tonalities, the core of the group is spearheaded by the double tenor saxophone sound and its idiosyncrasies. This type of sax combo goes way back to the early days of bop and has left in its wake an amazing well of discography to draw from. In fact it never grew old and continues to be a popular ‘thing to do’ amongst the modern day tenorists. This particular recording and the group really highlights my infatuation for the saxophone and in particular the mastery of Tim Armacost.”
Garnett’s enthusiasm for Armacost’s playing, and the relationship between the pair is quite phenomenal in the way they compliment and at time contradict each other, but their meeting seems to have been quite fortuitous to say the least. Alex takes up the story, “Tim and I were lucky to share a mutual friend, another fellow saxman and keen record collector, who acted as a kind of musical matchmaker. He had befriended us on different sides of the pond and opened my ears up to Tim’s playing via some live bootlegs. I happened to bump into said matchmaker in NYC.I was out on a kind of jazz pilgrimage, soaking up the scene and we met in the middle of 8th Ave and 46th just like that. He happened to be couch surfing at Tim’s and I was immediately given a personal introduction and invited by the Armacosts to stay. Tim was really very kind to me, and imparted invaluable wisdom about approaching the saxophone and we've remained long distance friends ever since..It was then just a matter of time before our musical worlds were to collide on wax!”
The tunes on Andromeda have a nice mix and are very varied, avoiding idiomatic plagiarism by featuring mostly original tunes penned by the saxophonist, so I ask Garnett how he went about composing for a two tenor line-up? “Writing for two tenors is easier than most instruments I'd say, because the natural range and frequencies lend themselves to unison lines and close harmonies,” he explains. “Trombone is another enigma in this way. It is possible to endlessly layer the trombone even semi tones apart and the waves don't clash. There have been whole big bands made exclusively with ‘Bones’ and it sounds amazing. Tim and I both have a lot of big band experience so that helps to understand about blending and ensemble work with multiple saxes. With that in mind, once we had a feel for each other’s core sound and approaches to details like vibrato and pulse, well as far as the writing is concerned the sky's the limit or more likely our techniques!” he says laughing. “I guess we have similar tastes in jazz that span more than a few decades stylistically which also helps. Some compositions were written for quartet originally and end up sounding way hipper with the weight of two tenors. I write sometimes with only a specific musicians sound in mind and develop the lines from there.”
Garnett’s enthusiasm for Armacost’s playing, and the relationship between the pair is quite phenomenal in the way they compliment and at time contradict each other, but their meeting seems to have been quite fortuitous to say the least. Alex takes up the story, “Tim and I were lucky to share a mutual friend, another fellow saxman and keen record collector, who acted as a kind of musical matchmaker. He had befriended us on different sides of the pond and opened my ears up to Tim’s playing via some live bootlegs. I happened to bump into said matchmaker in NYC.I was out on a kind of jazz pilgrimage, soaking up the scene and we met in the middle of 8th Ave and 46th just like that. He happened to be couch surfing at Tim’s and I was immediately given a personal introduction and invited by the Armacosts to stay. Tim was really very kind to me, and imparted invaluable wisdom about approaching the saxophone and we've remained long distance friends ever since..It was then just a matter of time before our musical worlds were to collide on wax!”
The tunes on Andromeda have a nice mix and are very varied, avoiding idiomatic plagiarism by featuring mostly original tunes penned by the saxophonist, so I ask Garnett how he went about composing for a two tenor line-up? “Writing for two tenors is easier than most instruments I'd say, because the natural range and frequencies lend themselves to unison lines and close harmonies,” he explains. “Trombone is another enigma in this way. It is possible to endlessly layer the trombone even semi tones apart and the waves don't clash. There have been whole big bands made exclusively with ‘Bones’ and it sounds amazing. Tim and I both have a lot of big band experience so that helps to understand about blending and ensemble work with multiple saxes. With that in mind, once we had a feel for each other’s core sound and approaches to details like vibrato and pulse, well as far as the writing is concerned the sky's the limit or more likely our techniques!” he says laughing. “I guess we have similar tastes in jazz that span more than a few decades stylistically which also helps. Some compositions were written for quartet originally and end up sounding way hipper with the weight of two tenors. I write sometimes with only a specific musicians sound in mind and develop the lines from there.”
So were the compositions written especially for the album? “The tunes I decided to record span a 20 year period since meeting Tim. Sometimes I write a tune when it takes me, but for no specific project. These remain in draws, in forgotten folders and unplayed, until the right situation comes along to bring them to life.” Continuing Alex says “A couple of tunes on the album were written within weeks of our first outing but its all new in a strange kind of way when recording material for the first time. When selecting the tracks to record I had a certain impulse to create a ‘retro eccentric’ backdrop if you will, to honour the efforts of the past two tenor masters but with the head space of ‘now’ thrown into mix. The masters set the standard but not the style!”
You sneak in a couple of standards amongst your original compositions. Is there any particular reason for selecting those tunes? “Definitely,” replies Garnett, “Particularly with the ballad. I wanted to feature the saxes simultaneously. It can be tough to follow two solos at the same time and place them against harmony of an unknown original. I think that knowing the original melody in this case can enhance the solo work and allow for more intricate intertwining, which is more exciting for the soloist and listener. I’m a huge Stan Getz fan and the Herman/Burns tune ‘Early Autumn’ has haunted my career, in a good way, I may add, and I wanted to bring my own harmonic touch to the tune to give it a dramatic orchestral feel without slavishly copying the original Getz classic. As for ‘I've got my love’ it's a Berlin classic from 1937, and the album was cut in late November and the shops were already pouring out the easy listening Christmas soundtracks. So as an antidote I hit upon this lesser played gem as it was aching for a cheeky revamp to suit a two tenor burn up!! I like it because its a very seasonal tune but doesn't use any Christmas clichés in its lyrics. It’s a love song but has a bridge section in a minor key which is cool. Whatever I present musically, I always try to maintain something of a personal connection to the material in hope of communicating more emotion to the listener.”
The release of Androemda immediately see Garnett’s recorded output as a leader double, as he waited until turning forty before recording under his own name, with the excellent Serpent so why the long wait I ask? “I guess I've been blessed with work over the past years. Living in London my whole life has helped I'm sure. I’ve always felt that my own playing is a work in progress, so it has been difficult commit something to say this is me! Perhaps I'm too OCD. Its easier to be something as a sideman. It’s a different set of pressures that I can cope with .In fact I think a lot of artists play better on other people's records!”
You sneak in a couple of standards amongst your original compositions. Is there any particular reason for selecting those tunes? “Definitely,” replies Garnett, “Particularly with the ballad. I wanted to feature the saxes simultaneously. It can be tough to follow two solos at the same time and place them against harmony of an unknown original. I think that knowing the original melody in this case can enhance the solo work and allow for more intricate intertwining, which is more exciting for the soloist and listener. I’m a huge Stan Getz fan and the Herman/Burns tune ‘Early Autumn’ has haunted my career, in a good way, I may add, and I wanted to bring my own harmonic touch to the tune to give it a dramatic orchestral feel without slavishly copying the original Getz classic. As for ‘I've got my love’ it's a Berlin classic from 1937, and the album was cut in late November and the shops were already pouring out the easy listening Christmas soundtracks. So as an antidote I hit upon this lesser played gem as it was aching for a cheeky revamp to suit a two tenor burn up!! I like it because its a very seasonal tune but doesn't use any Christmas clichés in its lyrics. It’s a love song but has a bridge section in a minor key which is cool. Whatever I present musically, I always try to maintain something of a personal connection to the material in hope of communicating more emotion to the listener.”
The release of Androemda immediately see Garnett’s recorded output as a leader double, as he waited until turning forty before recording under his own name, with the excellent Serpent so why the long wait I ask? “I guess I've been blessed with work over the past years. Living in London my whole life has helped I'm sure. I’ve always felt that my own playing is a work in progress, so it has been difficult commit something to say this is me! Perhaps I'm too OCD. Its easier to be something as a sideman. It’s a different set of pressures that I can cope with .In fact I think a lot of artists play better on other people's records!”
So what about formative influences on your playing, and why jazz? Pondering a moment Alex replies, “Well, I started on alto and studied Marcel Mule and Jimmy Dorsey. Charlie Parker was always looming as he was my Dad’s favourite. As I teen I rebelled against jazz for awhile and was really more into hip hop and funk fusion. After the dance hit ‘Rockit’, I was introduced to a Head Hunters album and I fell in love with all things ‘Herbie’. From there it percolated out to Michael Brecker, Joe Henderson, Cannonball, and Miles Davis. From there I slowly joined the dots back to Lester Young, Art Tatum and back to Bird again. I started buying records and had to stop and seek therapy after about 2000 plus...Vinyl was dirt cheap in the 80's”
From what to do listen to the conversation gradually comes around to what saxophones to play. “I play on whole range from baritone to alto and even a C melody if taken. I bow out at soprano though,” confesses Alex. “I was always told to find a setup that works and just stick with it .Alas, over the years I've been on the grand equipment merry go round and at one time had an unhealthy pile of gear to puzzle over. I’ve owned and played pretty much every model and make of horn at some point. In truth I’ll play anything. I hate to be slave to the equipment. Generally I’d say I've mostly gravitated towards American saxes as a preference, King, Conn and Beuscher. I used an old 1949 King super 20 Tenor with the triangulated pant guard for years and years. Beautifully made horns with a direct sound, and very hardy against the bangs and bumps of touring. Perfect for R n' B -bop!I went through a Johnny Griffin patch and he used one in his classic days. So did Sonny Rollins, Hank Mobley, Sonny Stitt and more exclusively Cannonball Adderley until Selmer got a grip. More recently I've been a Conn enthusiast. They are super versatile and complex harmonically. I’ve been using an old 1928 Pan American tenor with a long shank Selmer Soloist mouthpiece for at least 5 years now which is a world record for me, but I’ll occasionally show up to a gig on a completely different set up or brand of horn just for fun or most often to give myself a hard time! It’s a challenge to try be someone else for the day, and take on a different voice. It can bring out some lines that you might not otherwise play. I prefer ebonite mouthpieces of around 7-8 * tip and 3.5 reeds across the whole sax family.”
As well as touring his Bunch of 5, Garnett keeps himself busy with various other projects. “I've been in partnership with the incredible Gareth Lockrane”, enthuses the tenorist. “The band is called Grooveyard and has survived a few guises over the last ten years. We’ve recorded a number of albums of Gareth's amazing compositions and the gigs are growing along with the band musically speaking. It keeps me on the edge of my ability so has been vital to my improvement as an improviser. I also play a sideman role to a number of other musicians combos ranging from a contemporary septet to an early 30's swing outfit. I also play in a couple of long running big bands and I've been working in the house band at Scott's since the club reopened also hosting my own nights there for the past couple of years too.”
And of future plans, Alex says “I'm trying to get my Charlie Parker Supersax group off the ground. We use the original pad from the 70's band led by Med Flory. It is high maintenance dots wise but a real gas. But most immediately I'd like to develop the Bunch of 5. I’ve virtually got another records worth of material to go. The main consideration is the difficulty of hooking up with Tim . It takes some careful advanced planning and unfortunately Ryan Air don't do transatlantic!
“I've also got a saxophonist’s cliché desire to record with a big band and string section. When I was 17,my sax teacher played me an Eddie Daniels record called Breakthrough. It’s recorded with the LSO and has been branded on my musical bucket list since that hearing. Finances still pending!!Then there was Stan Getz and the album Focus, incredible really. It’s a lot to live up to but totally inspirational. The main goal is to take more care of ones health. Without it music becomes impossible.”
From what to do listen to the conversation gradually comes around to what saxophones to play. “I play on whole range from baritone to alto and even a C melody if taken. I bow out at soprano though,” confesses Alex. “I was always told to find a setup that works and just stick with it .Alas, over the years I've been on the grand equipment merry go round and at one time had an unhealthy pile of gear to puzzle over. I’ve owned and played pretty much every model and make of horn at some point. In truth I’ll play anything. I hate to be slave to the equipment. Generally I’d say I've mostly gravitated towards American saxes as a preference, King, Conn and Beuscher. I used an old 1949 King super 20 Tenor with the triangulated pant guard for years and years. Beautifully made horns with a direct sound, and very hardy against the bangs and bumps of touring. Perfect for R n' B -bop!I went through a Johnny Griffin patch and he used one in his classic days. So did Sonny Rollins, Hank Mobley, Sonny Stitt and more exclusively Cannonball Adderley until Selmer got a grip. More recently I've been a Conn enthusiast. They are super versatile and complex harmonically. I’ve been using an old 1928 Pan American tenor with a long shank Selmer Soloist mouthpiece for at least 5 years now which is a world record for me, but I’ll occasionally show up to a gig on a completely different set up or brand of horn just for fun or most often to give myself a hard time! It’s a challenge to try be someone else for the day, and take on a different voice. It can bring out some lines that you might not otherwise play. I prefer ebonite mouthpieces of around 7-8 * tip and 3.5 reeds across the whole sax family.”
As well as touring his Bunch of 5, Garnett keeps himself busy with various other projects. “I've been in partnership with the incredible Gareth Lockrane”, enthuses the tenorist. “The band is called Grooveyard and has survived a few guises over the last ten years. We’ve recorded a number of albums of Gareth's amazing compositions and the gigs are growing along with the band musically speaking. It keeps me on the edge of my ability so has been vital to my improvement as an improviser. I also play a sideman role to a number of other musicians combos ranging from a contemporary septet to an early 30's swing outfit. I also play in a couple of long running big bands and I've been working in the house band at Scott's since the club reopened also hosting my own nights there for the past couple of years too.”
And of future plans, Alex says “I'm trying to get my Charlie Parker Supersax group off the ground. We use the original pad from the 70's band led by Med Flory. It is high maintenance dots wise but a real gas. But most immediately I'd like to develop the Bunch of 5. I’ve virtually got another records worth of material to go. The main consideration is the difficulty of hooking up with Tim . It takes some careful advanced planning and unfortunately Ryan Air don't do transatlantic!
“I've also got a saxophonist’s cliché desire to record with a big band and string section. When I was 17,my sax teacher played me an Eddie Daniels record called Breakthrough. It’s recorded with the LSO and has been branded on my musical bucket list since that hearing. Finances still pending!!Then there was Stan Getz and the album Focus, incredible really. It’s a lot to live up to but totally inspirational. The main goal is to take more care of ones health. Without it music becomes impossible.”
|
For more information visit www.alexgarnettsax.com
Click on the album cover to read our review of Andromeda by Alex Garnettt's Bunch of 5 
|
|
