ETHAN IVERSON - Take Five No: 63
Can you tell us about your new album?
During my time with the Bad Plus, I was always interested in hiring and learning from my favorite players that I grew up listening to: Charlie Haden, Paul Motian, Ron Carter, Tootie Heath, and others. The most significant was Billy Hart, which turned into a long-running band with Mark Turner and Ben Street that will be releasing another disc next year.
A few years ago I had a dream (a literal dream) about playing with Tom Harrell. (At one point I saw him Tom at the Vanguard and he expressed enthusiasm for my playing with Billy Hart, that was probably the engine for the dream.) When I woke up I reached out and put a little duo gig on the books for us. It went well.
Later, I told Manfred Eicher that I had played with Tom. Manfred said that he always liked Tom and wanted to make a record with him. Manfred even said that Keith Jarrett loved Tom and had wanted to work with him. H’mm.
I’d been playing with Ben Street a lot, Ben understood why I was trying to play with these older master musicians. (Ben is also one of the greatest bassists of all time.) While working with Tom in a band setting I could have tried for another elder statesmen on drums, but thought it might be easier to have someone closer to my peer group. Ben suggested Eric McPherson. We did a little trio session and I immediately understood what Ben meant, and also understood that there was a really profound hookup between Ben and Eric. Later, Tom told me he thought this rhythm section, “Played a new kind of music.” I am very proud of showcasing the rhythmic/harmonic feel of Ben and Eric on Common Practice. To me, it sounds like a classic jazz record from an older era — although it is in no way a karaoke version of 1960. It somehow also sounds like 2017.
After the first set I looked at the manager of the Vanguard, who said, “Yeah. I know what you are about to say. Sure. You can record this week. In fact, I think you’ve got to.” The point is simply to hear Tom Harrell play standards in a sympathetic setting. He’s one of kind, he has all the tradition any one could ask for, but he also plays free melodies and channels the unnamable. In the ballads he sounds like Billie Holiday to me.
During my time with the Bad Plus, I was always interested in hiring and learning from my favorite players that I grew up listening to: Charlie Haden, Paul Motian, Ron Carter, Tootie Heath, and others. The most significant was Billy Hart, which turned into a long-running band with Mark Turner and Ben Street that will be releasing another disc next year.
A few years ago I had a dream (a literal dream) about playing with Tom Harrell. (At one point I saw him Tom at the Vanguard and he expressed enthusiasm for my playing with Billy Hart, that was probably the engine for the dream.) When I woke up I reached out and put a little duo gig on the books for us. It went well.
Later, I told Manfred Eicher that I had played with Tom. Manfred said that he always liked Tom and wanted to make a record with him. Manfred even said that Keith Jarrett loved Tom and had wanted to work with him. H’mm.
I’d been playing with Ben Street a lot, Ben understood why I was trying to play with these older master musicians. (Ben is also one of the greatest bassists of all time.) While working with Tom in a band setting I could have tried for another elder statesmen on drums, but thought it might be easier to have someone closer to my peer group. Ben suggested Eric McPherson. We did a little trio session and I immediately understood what Ben meant, and also understood that there was a really profound hookup between Ben and Eric. Later, Tom told me he thought this rhythm section, “Played a new kind of music.” I am very proud of showcasing the rhythmic/harmonic feel of Ben and Eric on Common Practice. To me, it sounds like a classic jazz record from an older era — although it is in no way a karaoke version of 1960. It somehow also sounds like 2017.
After the first set I looked at the manager of the Vanguard, who said, “Yeah. I know what you are about to say. Sure. You can record this week. In fact, I think you’ve got to.” The point is simply to hear Tom Harrell play standards in a sympathetic setting. He’s one of kind, he has all the tradition any one could ask for, but he also plays free melodies and channels the unnamable. In the ballads he sounds like Billie Holiday to me.
What other projects are you currently involved in?
Somehow there’s a lot going on. A big one is Pepperland with the Mark Morris Dance Group. We did a 7-week UK tour earlier this year. I’m just off a European tour with Joe Sanders and Jorge Rossy. Last year ECM put out a duo record with Mark Turner that did well; we have been on several tours in Europe and America. In November the duo tours Europe again. Bigger compositional projects are coming into focus. Pepperland is one; there may be more dance commissions happening in 2020. I’ve done a piano concerto and have started contemplating a symphony.
What are you currently listening to and what was the last CD or download you bought?
I’m on a Sonny Clark binge. All of his stuff as a leader is easy to find, but he’s also on countless album as a sideman. He did a lot in 8 years of recorded activity. I’d suggest putting money down and supporting the boutique label Uptown for the archival release Oakland 1955.
Somehow there’s a lot going on. A big one is Pepperland with the Mark Morris Dance Group. We did a 7-week UK tour earlier this year. I’m just off a European tour with Joe Sanders and Jorge Rossy. Last year ECM put out a duo record with Mark Turner that did well; we have been on several tours in Europe and America. In November the duo tours Europe again. Bigger compositional projects are coming into focus. Pepperland is one; there may be more dance commissions happening in 2020. I’ve done a piano concerto and have started contemplating a symphony.
What are you currently listening to and what was the last CD or download you bought?
I’m on a Sonny Clark binge. All of his stuff as a leader is easy to find, but he’s also on countless album as a sideman. He did a lot in 8 years of recorded activity. I’d suggest putting money down and supporting the boutique label Uptown for the archival release Oakland 1955.
What is your all time favourite album and why?
Impossible question, but my standard answer is Thelonious Monk Trio on Prestige…I never tire of listening to it! Has the whole spectrum of human emotion from grave sadness to stupid hilarity as expressed though sardonic jazz melodies and deep swing.
Who has caught you attention recently that we should be listening out for?
I also listen to and practice a lot of classical music. You are a British publication, so I hope all your readers know that one of the composers of our age is the Englishman Thomas Adès. Modern jazz people can learn a lot from a great composer like Adès. Just off the top of my head: “In Seven Days” fixes all the problems of recent trends like minimalism and indie-classical. Damn, is that some great music!
Click on the album cover to read our review
Impossible question, but my standard answer is Thelonious Monk Trio on Prestige…I never tire of listening to it! Has the whole spectrum of human emotion from grave sadness to stupid hilarity as expressed though sardonic jazz melodies and deep swing.
Who has caught you attention recently that we should be listening out for?
I also listen to and practice a lot of classical music. You are a British publication, so I hope all your readers know that one of the composers of our age is the Englishman Thomas Adès. Modern jazz people can learn a lot from a great composer like Adès. Just off the top of my head: “In Seven Days” fixes all the problems of recent trends like minimalism and indie-classical. Damn, is that some great music!
Click on the album cover to read our review
