ANDY SHEPPARD - Sound Colourist Extraordinaire
Saxophonist Andy Sheppard has been a major figure on the International scene for more than thirty years, with an impressive CV that boasts stints with such luminaries as George Russell, Gil Evans and an association with pianist Carla Bley that goes back more than two decades.
Since emerging in the early eighties as part of the British ‘jazz resurgence’, Sheppard has encountered all the highs, lows and pitfalls of trying to make a living as a jazz musician. In an impressive discography he has recorded as leader for Island/Antilles, Blue Note, Verve and Provocateur Records, but with the release of his third ECM album, Surrounded by Sea, it now seems that Andy Sheppard has found the ideal permanent new home for his music.
The new album finds Sheppard continuing the work begun with Trio Libero, his 2012 album with bassist Michel Benita and Seb Rochford’s drums, but with addition of a harmony instrument in the deployment of Norwegian soundscape guitarist, Eivind Aarset. “I wanted to take what I was doing with Trio Libero and add the harmonies that I can hear in my head when playing with just the bass and drums” says Andy. “Eivind is an amazing orchestral voice with exquisite taste –the perfect choice for this role. I also wanted to add some subtle groove material. Trio Libero was very rubato based free flowing music – I also like laying rubato against groove…”
Since emerging in the early eighties as part of the British ‘jazz resurgence’, Sheppard has encountered all the highs, lows and pitfalls of trying to make a living as a jazz musician. In an impressive discography he has recorded as leader for Island/Antilles, Blue Note, Verve and Provocateur Records, but with the release of his third ECM album, Surrounded by Sea, it now seems that Andy Sheppard has found the ideal permanent new home for his music.
The new album finds Sheppard continuing the work begun with Trio Libero, his 2012 album with bassist Michel Benita and Seb Rochford’s drums, but with addition of a harmony instrument in the deployment of Norwegian soundscape guitarist, Eivind Aarset. “I wanted to take what I was doing with Trio Libero and add the harmonies that I can hear in my head when playing with just the bass and drums” says Andy. “Eivind is an amazing orchestral voice with exquisite taste –the perfect choice for this role. I also wanted to add some subtle groove material. Trio Libero was very rubato based free flowing music – I also like laying rubato against groove…”
Immediately apparent when listening to Sheppard’s recent output for ECM, and indeed a trait that has been constant throughout his discography as a whole, is how he brings about change in the most gentle and subtle of ways. He has previously described his ECM debut Movements In Colour as a logical progression of his Learning To Wave band from the late nineties retaining the services of long time collaborator John Parricelli, and replacing the keyboards of Steve Lodder with the electronic sounds from a second guitarist in Eivind Aarset. With Trio Libero functioning as very much an improvising trio, bringing Eivind into the equation on Surrounded By Sea brought back not only a harmonic foundation but also a stronger compositional element. “All the new compositions were specifically written for this quartet with the exception of ‘Medication’, which was originally written as part of a recent commission – a new suite for the Bergen Big Band, and ‘Looking For Ornette’ which I recorded on Dancing Man & Woman” explains Sheppard. “With ‘Looking for Ornette’ I just decided to revisit this tune as I knew this band would be able to take it to the next level – it’s simple yet complex at the same time – in time and out of time with clear tonal centres which continuously move and I use simple triad displacements in my improvising which seems to flow with the tune.”
Included in the set is a surprising choice of cover in the Elvis Costello tune ‘I Want To Vanish’, with Sheppard’s beautifully crystal clear soprano to the fore caressing the gentle melody. “Michel Benita introduced me to this song and I fell in love with it” Andy says. “I also recorded and toured with Elvis some years ago in John Harle’s Terro and Magnificence project.” Another feature for Andy’s soprano saxophone is the traditional Gaelic song ‘Aoidh, Na Dean Cadal Idir’ which translates as ‘Aoidh, Don’t Sleep At All’. “‘Aoidh’ came out of a project with Hebridean folk singer Julie Fowlis which sadly never came to fruition, but it did take on a life of it’s own in the studio, which is why it’s credited to all four members” the saxophonist explains. “To illustrate how I wanted to ‘dress’ her music I took her a capella version and Michel, Eivind and I recorded separately our parts around her beautiful voice. This in fact gave me the initial idea of forming a band with this line-up. When we recorded the tune as a quartet the music seemed to just come into the room – Mandfred Eicher waved his arms to make us continue playing and the result was an extended version. He then suggested we could divide the tune up and weave it through the record. It seems only fitting that the song that brought this line-up together is now a recurrent theme through the album. Also I remember, from talking with Julie, that in the Gaelic tradition when someone teaches you a song it’s your responsibility to pass it on…”
Included in the set is a surprising choice of cover in the Elvis Costello tune ‘I Want To Vanish’, with Sheppard’s beautifully crystal clear soprano to the fore caressing the gentle melody. “Michel Benita introduced me to this song and I fell in love with it” Andy says. “I also recorded and toured with Elvis some years ago in John Harle’s Terro and Magnificence project.” Another feature for Andy’s soprano saxophone is the traditional Gaelic song ‘Aoidh, Na Dean Cadal Idir’ which translates as ‘Aoidh, Don’t Sleep At All’. “‘Aoidh’ came out of a project with Hebridean folk singer Julie Fowlis which sadly never came to fruition, but it did take on a life of it’s own in the studio, which is why it’s credited to all four members” the saxophonist explains. “To illustrate how I wanted to ‘dress’ her music I took her a capella version and Michel, Eivind and I recorded separately our parts around her beautiful voice. This in fact gave me the initial idea of forming a band with this line-up. When we recorded the tune as a quartet the music seemed to just come into the room – Mandfred Eicher waved his arms to make us continue playing and the result was an extended version. He then suggested we could divide the tune up and weave it through the record. It seems only fitting that the song that brought this line-up together is now a recurrent theme through the album. Also I remember, from talking with Julie, that in the Gaelic tradition when someone teaches you a song it’s your responsibility to pass it on…”
“I hope that there is a clear path through this 3 albums”, Andy says of his recent recordings for ECM. “We are all trying to reinvent ourselves and evolve naturally through time and space…. I’m definitely feeling very relaxed in the sound world of Surrounded by Sea – I think the band has created something special – it’s inside and outside at the same time – the energy level is very dynamic too – the soft sounds can be just as powerful emotionally as the loud ones… and Silence is the thirteenth note… I’ve strived to create music on my own terms within the jazz umbrella.”
For those who have followed Andy’s career, it is this desire to make music on his own terms that has seen his playing evolve over time to a truly unique and individual voice. The core sound has always been there of course, just listen for example to the soprano saxophone sound on ‘Forbidden Fruit’ on the 1989 album for Antilles Introductions In The Dark and then skip forward twenty years to ‘International Blue’ on the Movements In Colour set to hear how the core sound has remained, albeit refined to a point that says a lot in a very new notes.
For those who have followed Andy’s career, it is this desire to make music on his own terms that has seen his playing evolve over time to a truly unique and individual voice. The core sound has always been there of course, just listen for example to the soprano saxophone sound on ‘Forbidden Fruit’ on the 1989 album for Antilles Introductions In The Dark and then skip forward twenty years to ‘International Blue’ on the Movements In Colour set to hear how the core sound has remained, albeit refined to a point that says a lot in a very new notes.
Autograph Series Tenor Saxophone
This can also be said of Sheppard’s sound on tenor, although he has been having a rather more direct input in this of late as he has also been involved in the production of a new range of horns. Andy takes up the story, “Currently I’m playing one of my own Autograph Series Tenor Saxophones with a new mouthpiece I’ve developed with Morgan Fry. Both the instrument and mouthpiece have taken time to perfect – although I’m aware that there’s no such a thing as the perfect sax/mouthpiece/reed – as there’s no such thing as the perfect player (although John Coltrane got pretty close…). I’m still working on developing my “sound” but it’s been a great help working with Worldwind, Dave Farley, Andy Brush and Morgan Fry – I feel that passing on my findings to other players is a natural process.”
This involvement in helping produce the Autograph Series saxophones shows just how far this self taught musician has come since his conversion to jazz at the age of nineteen when he first heard the music of John Coltrane. “I think the first Coltrane album I heard was Ascension”, Andy recalls “That certainly flipped me out. Hearing Coltrane, Mingus, Jarrett etc… had a profound effect on me – I felt I’d stumbled into a brave new world – I’d found the real thing.” The rest as they say is history. Sheppard immediately went out and bought a second hand tenor, and within a matter of weeks was playing in public. He then spent some time in playing in Paris and London, and sealed his reputation in the UK by playing in the group Sphere. He then went on to come second in the nationally televised Schlitz Jazz competition in 1986 and landing his contract with Island/ Antilles. As Ronnie Scott once said, “For someone who is self taught he had a good teacher”.
This involvement in helping produce the Autograph Series saxophones shows just how far this self taught musician has come since his conversion to jazz at the age of nineteen when he first heard the music of John Coltrane. “I think the first Coltrane album I heard was Ascension”, Andy recalls “That certainly flipped me out. Hearing Coltrane, Mingus, Jarrett etc… had a profound effect on me – I felt I’d stumbled into a brave new world – I’d found the real thing.” The rest as they say is history. Sheppard immediately went out and bought a second hand tenor, and within a matter of weeks was playing in public. He then spent some time in playing in Paris and London, and sealed his reputation in the UK by playing in the group Sphere. He then went on to come second in the nationally televised Schlitz Jazz competition in 1986 and landing his contract with Island/ Antilles. As Ronnie Scott once said, “For someone who is self taught he had a good teacher”.
Having once gone on record as saying that he “never felt that he was good enough have lessons”, Andy did it the hard way, playing as much as possible with people who he felt were better than him, and learning the old fashioned way from peers and on the bandstand. His playing was not only greatly admired with audiences and fellow musicians in the UK but also further afield, coming to the attention of Gil Evans, George Russell and Carla Bley, and playing in the big bands of all three. “Gil was very cool – he drank tea and smoked weed and loved the music to be disciplined yet anarchic. On the long bus routes through Europe he was learning to speak Italian – constantly expanding his mind…” recollects Sheppard. “George was very New York New York – an extremely powerful personality and great innovator – the music was both intellectual and connected to ‘that certain energy that we call jazz’ - a very deep experience.”
If Andy’s tenure with these two giants of jazz was somewhat fleeting, his association with Carla Bley has continues to this day with the saxophonist having been a mainstay of many of the pianists bands for the last two decades. “Working with Carla has been a constant joy, challenge and rewarding voyage” says Sheppard. “I’ve been lucky to have been part of her Universe in many contexts – big band, Octet, Quintet, Quartet and Trio. I consider Carla Bley and Steve Swallow true living legends and two of the most important contemporary musicians alive today – I’m very proud to be part of their world.”
Taking a look at Andy’s discography as leader and sideman in a career that spans nearly forty years, it is evident that the 58 year old saxophonist has worked hard to receive the recognition from fellow musicians and maintained as substantial and loyal audience for his music. In a somewhat promiscuous career he is perhaps one f the last of a generation to be able to lay claims to living the ‘jazz life’. From busking in his native Bristol when starting out, to trawling round the clubs in the UK and Europe to playing on the International stage Sheppard is always eager to play. “I’m constantly getting into new projects I’m proud to be part of the world jazz family” he says, and when I’m home I try and play locally. Over the last couple of years I’ve developed 2 ‘local bands’ – the Pushy Doctors and Hotel Bristol and I feel it’s important for me to be involved in the scene where I happen to live – once you can play you can play! There’s always some great music and musicians playing in a bar near you! Wherever you are – get out and be part of it…”
And of playing jazz…”You have to play the best you can at that moment in time – music is an unending story – I’m still building up to my 1st lesson… In the words of Carla Bley ‘true jazz musicians just get better and better and better and better …and then die’ I’m just trying to get better.”
If Andy’s tenure with these two giants of jazz was somewhat fleeting, his association with Carla Bley has continues to this day with the saxophonist having been a mainstay of many of the pianists bands for the last two decades. “Working with Carla has been a constant joy, challenge and rewarding voyage” says Sheppard. “I’ve been lucky to have been part of her Universe in many contexts – big band, Octet, Quintet, Quartet and Trio. I consider Carla Bley and Steve Swallow true living legends and two of the most important contemporary musicians alive today – I’m very proud to be part of their world.”
Taking a look at Andy’s discography as leader and sideman in a career that spans nearly forty years, it is evident that the 58 year old saxophonist has worked hard to receive the recognition from fellow musicians and maintained as substantial and loyal audience for his music. In a somewhat promiscuous career he is perhaps one f the last of a generation to be able to lay claims to living the ‘jazz life’. From busking in his native Bristol when starting out, to trawling round the clubs in the UK and Europe to playing on the International stage Sheppard is always eager to play. “I’m constantly getting into new projects I’m proud to be part of the world jazz family” he says, and when I’m home I try and play locally. Over the last couple of years I’ve developed 2 ‘local bands’ – the Pushy Doctors and Hotel Bristol and I feel it’s important for me to be involved in the scene where I happen to live – once you can play you can play! There’s always some great music and musicians playing in a bar near you! Wherever you are – get out and be part of it…”
And of playing jazz…”You have to play the best you can at that moment in time – music is an unending story – I’m still building up to my 1st lesson… In the words of Carla Bley ‘true jazz musicians just get better and better and better and better …and then die’ I’m just trying to get better.”
Click on the album cover to read our review of Surrounded by Sea by the Andy Sheppard Quartet
The Andy Sheppard Quartet Tour Dates are:
Thursday 30 April – Turner Sims Concert Hall, Southampton
Friday 1 May – Terry O’Toole Theatre, North Hykeham, Lincoln (Lincoln Jazz Club)
Saturday 2 May – The Apex, Bury St Edmunds
Sunday 3 May – Grand Theatre, Clitheroe (Ribble Valley Jazz & Blues Festival)
Friday 5 June – Salisbury Playhouse (Salisbury International Arts Festival)
Saturday 6 June – St John’s, Plush, Dorset (Plush Festival)
The Quartet will also tour throughout the UK and Ireland later this year.
For more photographs of the Andy Sheppard Quartet in rehearsals by Sara Da Costa check out our Gallery
For more information, visit:
http://andysheppard.co.uk/ / https://www.facebook.com/andysheppardsaxophonist?ref=hl / https://twitter.com/AndySheppardSax
ECM – Surrounded by Sea
http://player.ecmrecords.com/sheppard-2432
Autograph Series Saxophone
http://www.autographsax.com/ / https://www.facebook.com/autographsax?fref=ts
The Andy Sheppard Quartet Tour Dates are:
Thursday 30 April – Turner Sims Concert Hall, Southampton
Friday 1 May – Terry O’Toole Theatre, North Hykeham, Lincoln (Lincoln Jazz Club)
Saturday 2 May – The Apex, Bury St Edmunds
Sunday 3 May – Grand Theatre, Clitheroe (Ribble Valley Jazz & Blues Festival)
Friday 5 June – Salisbury Playhouse (Salisbury International Arts Festival)
Saturday 6 June – St John’s, Plush, Dorset (Plush Festival)
The Quartet will also tour throughout the UK and Ireland later this year.
For more photographs of the Andy Sheppard Quartet in rehearsals by Sara Da Costa check out our Gallery
For more information, visit:
http://andysheppard.co.uk/ / https://www.facebook.com/andysheppardsaxophonist?ref=hl / https://twitter.com/AndySheppardSax
ECM – Surrounded by Sea
http://player.ecmrecords.com/sheppard-2432
Autograph Series Saxophone
http://www.autographsax.com/ / https://www.facebook.com/autographsax?fref=ts
