PETER ERSKINE - As It Was: Now
Excerpts from No Beethoven: Autobiography & Chronicle of Weather Report by Peter Erskine, reproduced with kind permission of the author
Cutting his teeth in the big bands of Maynard Ferguson and Stan Kenton, drummer Peter Erskine quickly earned himself a reputation as one of the most important musicians of his generation. Quickly cementing this reputation with his tenure behind the kit for Weather Report and subsequently with Michael Brecker and Mike Maneri in Steps Ahead, Erskine's career was firmly established.
The eighties and nineties found the drummer touring and recording with the John Abercrombie Trio, Kenny Wheeler and a trio with Jan Garbarek and Miroslav Vitous that produced the album Star; however perhaps most importantly from this association with ECM was the trio that Peter Erskine was to lead with pianist, John Taylor and bassist, Palle Danielsson that would result in four superb albums for the imprint.
In July 2016, almost exactly a year after the untimely passing of John Taylor, the four albums recorded by the trio between 1992 and 1997 were reissued as part of the ECM Old & New Masters series and serve as a timely reminder of the wonderful music they made.
"The trio came together upon the opportunity presented by way of an invitation from Manfred Eicher" explains Erskine, "thanks to concert promoter Nick Purnell somehow getting Manfred to agree with the idea to headline an album for ECM. I was already playing with John Taylor as part of Kenny Wheelers’ quintet (along with guitarist John Abercrombie and bassist Dave Holland). At the time of the invitation, it was apparent that Dave would not be doing the next/upcoming tour with Kenny…Palle Danielsson would be playing bass. Now, I had only played once before with Palle (several years prior) on a record date in Europe, so it was a bit of a leap of faith to commit to Palle before touring with him … I seem to recall that there was some tie-in to this particular Kenny tour and my being in Europe to the ECM album planning, not sure why I had to select the bassist ahead of time but I did, and my intuition that Palle would be a good fit was more than born out the first instant we played together in Kenny’s band. The trio rhythm section was featured in every concert playing a tune or two of John’s so we already had some trio-specific playing under our belts by the time we went into the studio. Of course, “live” and in-concert playing can be quite different from the playing one does under the microscope and in the rarified air of a recording studio, particularly one like Rainbow Studio in Oslo. In any event, we found ourselves able and willing to adapt to any and all acoustical and song challenges.
I should mention that I fell in love with John Taylor’s playing the moment I heard it when the trio of John, Kenny and Norma Winstone shared a bill with the John Abercrombie Trio in New York a few years prior. One of the more sophisticated, rhythmically energetic yet elegant musicians I’ve ever heard."
In his book, No Beethoven: Autobiography & Chronicle of Weather Report (*), Erskine recalls, "The inspired idea to work with John Taylor and Palle Danielsson results in four finely attuned recordings that create their own niche on the realm of recorded music. These are unlike any other recordings I’ve made or heard. Somehow, sitting in the 'leader' seat creates a delicious sort of vulnerability and while I hate the feeling at the time I also recognize that the birthing process has to be like this.
Cutting his teeth in the big bands of Maynard Ferguson and Stan Kenton, drummer Peter Erskine quickly earned himself a reputation as one of the most important musicians of his generation. Quickly cementing this reputation with his tenure behind the kit for Weather Report and subsequently with Michael Brecker and Mike Maneri in Steps Ahead, Erskine's career was firmly established.
The eighties and nineties found the drummer touring and recording with the John Abercrombie Trio, Kenny Wheeler and a trio with Jan Garbarek and Miroslav Vitous that produced the album Star; however perhaps most importantly from this association with ECM was the trio that Peter Erskine was to lead with pianist, John Taylor and bassist, Palle Danielsson that would result in four superb albums for the imprint.
In July 2016, almost exactly a year after the untimely passing of John Taylor, the four albums recorded by the trio between 1992 and 1997 were reissued as part of the ECM Old & New Masters series and serve as a timely reminder of the wonderful music they made.
"The trio came together upon the opportunity presented by way of an invitation from Manfred Eicher" explains Erskine, "thanks to concert promoter Nick Purnell somehow getting Manfred to agree with the idea to headline an album for ECM. I was already playing with John Taylor as part of Kenny Wheelers’ quintet (along with guitarist John Abercrombie and bassist Dave Holland). At the time of the invitation, it was apparent that Dave would not be doing the next/upcoming tour with Kenny…Palle Danielsson would be playing bass. Now, I had only played once before with Palle (several years prior) on a record date in Europe, so it was a bit of a leap of faith to commit to Palle before touring with him … I seem to recall that there was some tie-in to this particular Kenny tour and my being in Europe to the ECM album planning, not sure why I had to select the bassist ahead of time but I did, and my intuition that Palle would be a good fit was more than born out the first instant we played together in Kenny’s band. The trio rhythm section was featured in every concert playing a tune or two of John’s so we already had some trio-specific playing under our belts by the time we went into the studio. Of course, “live” and in-concert playing can be quite different from the playing one does under the microscope and in the rarified air of a recording studio, particularly one like Rainbow Studio in Oslo. In any event, we found ourselves able and willing to adapt to any and all acoustical and song challenges.
I should mention that I fell in love with John Taylor’s playing the moment I heard it when the trio of John, Kenny and Norma Winstone shared a bill with the John Abercrombie Trio in New York a few years prior. One of the more sophisticated, rhythmically energetic yet elegant musicians I’ve ever heard."
In his book, No Beethoven: Autobiography & Chronicle of Weather Report (*), Erskine recalls, "The inspired idea to work with John Taylor and Palle Danielsson results in four finely attuned recordings that create their own niche on the realm of recorded music. These are unlike any other recordings I’ve made or heard. Somehow, sitting in the 'leader' seat creates a delicious sort of vulnerability and while I hate the feeling at the time I also recognize that the birthing process has to be like this.
It should be remembered that at this point, when the trio where recording their debut album, the drummer had already a significant discography as sideman for ECM with Guamba with Gary Peacock (that also featured Palle Mikkelborg and Jan Garbarek), John Abercrombie (Current Events & Getting There), and crucially Kenny Wheeler's The Widow In The Window, the album that first put Erskine and Taylor in a studio together. So, given this impressive track record I asked Peter if when recording You Never Know if it was the plan to record just one album or was it always his intention to retain the group for future recordings and tours? "I don’t remember", comes the reply. "I’m sure that I had hopes for many things, the trio functioning as a recording and touring unit being one of them. The album turned out so well, that there was never any question or thought of my doing anything else as a leader during the process of making those albums. After the fourth and final album session, Juni, I had visions of doing some completely different things, including a recording of Stravinsky’s “Histoire du Soldat” (“The Tale of a Soldier”), consisting of the actual written piece and a series of improvisations and/or variations of the work. Sadly, that never came to pass. That’s the only alternate ECM project I recall proposing to Manfred … as well as possibly doing some more trio work but with the band I was working with in Los Angeles, Alan Pasqua (piano) and Dave Carpenter (bass). Manfred was not interested, so I began recording and promoting that group in earnest and began pushing ahead more and more with my own label, Fuzzy Music."
In listening to the music again, the fact remains that each of the four albums can stand up and be counted on their own merits however it is as a series of recordings over a lifetime of a group that should best be evaluated. If pianist, John Taylor, initially appeared to be the fulcrum of the trio, however over the course of the four albums this changed significantly. " A trio is, literally, a triangle…one of the strongest formations in architecture and geometry", says Erskine. "I would imagine. John’s playing and writing always remained at the core of the group, but this never hindered where the music might go. I don’t see or hear his role as fulcrum demishing over time; his interest seemed to wane in the direction the band was going compositionally as well as playing-wise, perhaps. We all get whispers in our ears, and his were telling him to move on, I guess. Mine, too, I guess."
In listening to the music again, the fact remains that each of the four albums can stand up and be counted on their own merits however it is as a series of recordings over a lifetime of a group that should best be evaluated. If pianist, John Taylor, initially appeared to be the fulcrum of the trio, however over the course of the four albums this changed significantly. " A trio is, literally, a triangle…one of the strongest formations in architecture and geometry", says Erskine. "I would imagine. John’s playing and writing always remained at the core of the group, but this never hindered where the music might go. I don’t see or hear his role as fulcrum demishing over time; his interest seemed to wane in the direction the band was going compositionally as well as playing-wise, perhaps. We all get whispers in our ears, and his were telling him to move on, I guess. Mine, too, I guess."
Of this time with the trio, and period of development, the drummer writes in his autobiography, "John Taylor is a brilliant musician and prolific composer. The trio is naturally assumed to be “his,” but it is not and for a simple reason: setting aside the fact that my name was enjoying some marquee value while we were booking tours, I can at least lay claim to the guiding aesthetic principle that would serve us well for most of our recording and touring work, and that was to treat musical events as non-events.
Anti-playing, as it were.
Whereas Mike Brecker was intent on the band hitting a home run or getting the 'music into 5th gear' for pretty much every tune, I was more interested in exploring the other side and seeing if we could create a counter-tension and resulting (or relative) musical strength by going the opposite direction. This was accomplished by lots of post-concert discussions, usually in the touring van as we headed back to the hotel. These were the perfect guys to do it. Palle Danielsson was a terrific sport about all of this and was game to try anything. Both of the guys are great, and it’s really the top quality of their playing that made the trio sound so good. But the band definitely has a specific tone to it, and that was where my name came in … other trio collaborations by John and Palle, for better or worse, just don’t sound the same. This is all said with pride. (The leader also has to take care of all of the business stuff, too.)"
Recalling the recording of the trio's debut album, Erskine once again describes events in his book, "The first album is not without its hiccups. Things are going smoothly enough until we reach this new tune of mine that has a spare and bare melody, 'Perfect,' I’m thinking 'for the ECM sound' we’re getting in Rainbow Studio. We’re recording with all of the instruments in the same large room, a sonic strategy that forces the musical direction to go where it happens to go: drumming choices and dynamics must needs be specific and careful as hell! This is compositional improvisation at an all-new level, and if I’m not careful I risk getting another Manfred 'your drumming sounds like Billy Cobham’s drumset being pushed down a spiral staircase' comment like he made during one of the Kenny Wheeler album dates. Back to my tune: we play through the song, I’m liking the vibe but it needs a bridge — Nick Purnell (who was responsible for making the deal with Manfred, i.e., convincing him to record the trio) is there and he helps me to craft one on the spot, I am feeling a bit on the spot and Manfred must be able to sense this — and we figure out how to play the rest of the song and create a form and so decide to record it. First take. The sustain rings out to infinity and we all take off our headphones and smile at one another and nod our heads towards the control room where we’ll listen back to the song …. By this point Manfred has got the newspaper propped up in front of his face, always a bad sign (especially when he uses a Norwegian newspaper, seeing how he does not read or understand Norwegian) … I ask him 'How was it?' and he lowers the paper and merely gives me a shrug. I venture further: 'Shall we play it again' to which he says '… what … for?' To which I can only start laughing and I say 'Let’s listen to it!' My final verdict: 'F*** it, it’s good!' and by the next day’s mixing/mastering session at album’s end, Manfred agrees and “On The Lake” makes the album. The title track is a sketch of John’s that we decide to run down, the song has that kind of sound and vibe and I’m aware of course that I’m not going to play the bass drum even once during the entire tune and 'Of course,' I think as we ‘re playing it, 'Manfred’s probably going to start the f****** album with this tune…' And he did. And that’s much of how "You Never Know” was born. Add some brilliant Vince Mendoza tunes, one of them named by my daughter Maya: “She Never Has A Window”." *
Anti-playing, as it were.
Whereas Mike Brecker was intent on the band hitting a home run or getting the 'music into 5th gear' for pretty much every tune, I was more interested in exploring the other side and seeing if we could create a counter-tension and resulting (or relative) musical strength by going the opposite direction. This was accomplished by lots of post-concert discussions, usually in the touring van as we headed back to the hotel. These were the perfect guys to do it. Palle Danielsson was a terrific sport about all of this and was game to try anything. Both of the guys are great, and it’s really the top quality of their playing that made the trio sound so good. But the band definitely has a specific tone to it, and that was where my name came in … other trio collaborations by John and Palle, for better or worse, just don’t sound the same. This is all said with pride. (The leader also has to take care of all of the business stuff, too.)"
Recalling the recording of the trio's debut album, Erskine once again describes events in his book, "The first album is not without its hiccups. Things are going smoothly enough until we reach this new tune of mine that has a spare and bare melody, 'Perfect,' I’m thinking 'for the ECM sound' we’re getting in Rainbow Studio. We’re recording with all of the instruments in the same large room, a sonic strategy that forces the musical direction to go where it happens to go: drumming choices and dynamics must needs be specific and careful as hell! This is compositional improvisation at an all-new level, and if I’m not careful I risk getting another Manfred 'your drumming sounds like Billy Cobham’s drumset being pushed down a spiral staircase' comment like he made during one of the Kenny Wheeler album dates. Back to my tune: we play through the song, I’m liking the vibe but it needs a bridge — Nick Purnell (who was responsible for making the deal with Manfred, i.e., convincing him to record the trio) is there and he helps me to craft one on the spot, I am feeling a bit on the spot and Manfred must be able to sense this — and we figure out how to play the rest of the song and create a form and so decide to record it. First take. The sustain rings out to infinity and we all take off our headphones and smile at one another and nod our heads towards the control room where we’ll listen back to the song …. By this point Manfred has got the newspaper propped up in front of his face, always a bad sign (especially when he uses a Norwegian newspaper, seeing how he does not read or understand Norwegian) … I ask him 'How was it?' and he lowers the paper and merely gives me a shrug. I venture further: 'Shall we play it again' to which he says '… what … for?' To which I can only start laughing and I say 'Let’s listen to it!' My final verdict: 'F*** it, it’s good!' and by the next day’s mixing/mastering session at album’s end, Manfred agrees and “On The Lake” makes the album. The title track is a sketch of John’s that we decide to run down, the song has that kind of sound and vibe and I’m aware of course that I’m not going to play the bass drum even once during the entire tune and 'Of course,' I think as we ‘re playing it, 'Manfred’s probably going to start the f****** album with this tune…' And he did. And that’s much of how "You Never Know” was born. Add some brilliant Vince Mendoza tunes, one of them named by my daughter Maya: “She Never Has A Window”." *
The second album, Time Being, recorded a short time later shows that the trio trio have retained a lot of the traits of the first set whilst further coalescing as unit which takes the music to a new and higher level. "The first album, the band came into the studio as a sole playing unit for the first time" says the drummer. "By the time we made Time Being, we had been touring and getting to know one another better and better. I was also stretching out my own compositional wings, and I see and hear Time Being as the group’s peak creatively and personally in terms of our mutual enthusiasms, support and trust.
If Time Being marked a step forward for the trio, by the time the trio recorded their third album As It Is, there was quite a seismic shift in relationship within the group and the way in which the three musicians reinvented their roles both in terms of the tunes and the way they approached them. "Things change over time. It’s still a very good album and it still sounds very much like the trio to me" says Erskine, but with hindsight it may be that the changes that were so exciting to listen to on the album, may have started to signal the end of the trio.
Peter Erskine and the Anglo-Swedish-American trio were to make just one more album for the imprint, Juni, which to listeners again seems to lead on seamlessly from its predecessor and developing ideas that have evolved over the course of the lifetime of the group; however the truth is somewhat different as Peter recalls "Juni was a tough album to make. Okay, here’s the hoister of there trio as recounted in my book, No Beethoven.
"I still enjoy listening to these albums, and many people became very fond of them. They are sonic adventures. My father was never enamored of these albums as there wasn't enough drumming on them for his taste — him and a few others, probably. (Once while getting ready to go on-stage at a Modern Drummer festival with a US-version of the piano trio, I am advised by one of the show’s producers just before we’re announced 'Oh, and yeah, Peter, don’t play too much of that sensitive shit.' It’s a long ways to travel for me, but we persevere as a trio and tour and record for some time in Europe… but the fourth and final album is no fun.
I’m sending copies of the tunes to John but getting no response. 'Is John’s fax machine working?' I wonder. 'Yes' comes the reply, and so I don't think much beyond that and travel to Oslo from LA, arriving in the late afternoon and I go from the hotel to the studio for a private evening rehearsal with John and Palle. 'Let’s start with this tune of mine' I venture. John then does his best Art Carney / 'Ed Norton' imitation, looking at the music but not able to bring himself or his arms far enough down to play the keyboard. He tries and tries again but is not able to bring himself to play. Finally, after performing this pantomime several times, he turns to me and says 'Peter … this would work perfectly in a Clint Eastwood film…'
'Hmm. Oh yeah? Which one?' and John readily replies 'The one with the bridges in Madison County … after all, Peter, you HAVE been living in Hollywood for some time now, and ...' And I’m defeated. I can’t believe he’s pulling this... I finally suggest that John play one of his new compositions, and after he runs it down I say 'You know, that would work terrifically well in an Arnold Schwarzenegger film' and it’s all downhill from there.
The next day Manfred asks me what’s going on with John and I have no idea what to tell him. We finished the album, somehow, and that was that for that trio." *
If Time Being marked a step forward for the trio, by the time the trio recorded their third album As It Is, there was quite a seismic shift in relationship within the group and the way in which the three musicians reinvented their roles both in terms of the tunes and the way they approached them. "Things change over time. It’s still a very good album and it still sounds very much like the trio to me" says Erskine, but with hindsight it may be that the changes that were so exciting to listen to on the album, may have started to signal the end of the trio.
Peter Erskine and the Anglo-Swedish-American trio were to make just one more album for the imprint, Juni, which to listeners again seems to lead on seamlessly from its predecessor and developing ideas that have evolved over the course of the lifetime of the group; however the truth is somewhat different as Peter recalls "Juni was a tough album to make. Okay, here’s the hoister of there trio as recounted in my book, No Beethoven.
"I still enjoy listening to these albums, and many people became very fond of them. They are sonic adventures. My father was never enamored of these albums as there wasn't enough drumming on them for his taste — him and a few others, probably. (Once while getting ready to go on-stage at a Modern Drummer festival with a US-version of the piano trio, I am advised by one of the show’s producers just before we’re announced 'Oh, and yeah, Peter, don’t play too much of that sensitive shit.' It’s a long ways to travel for me, but we persevere as a trio and tour and record for some time in Europe… but the fourth and final album is no fun.
I’m sending copies of the tunes to John but getting no response. 'Is John’s fax machine working?' I wonder. 'Yes' comes the reply, and so I don't think much beyond that and travel to Oslo from LA, arriving in the late afternoon and I go from the hotel to the studio for a private evening rehearsal with John and Palle. 'Let’s start with this tune of mine' I venture. John then does his best Art Carney / 'Ed Norton' imitation, looking at the music but not able to bring himself or his arms far enough down to play the keyboard. He tries and tries again but is not able to bring himself to play. Finally, after performing this pantomime several times, he turns to me and says 'Peter … this would work perfectly in a Clint Eastwood film…'
'Hmm. Oh yeah? Which one?' and John readily replies 'The one with the bridges in Madison County … after all, Peter, you HAVE been living in Hollywood for some time now, and ...' And I’m defeated. I can’t believe he’s pulling this... I finally suggest that John play one of his new compositions, and after he runs it down I say 'You know, that would work terrifically well in an Arnold Schwarzenegger film' and it’s all downhill from there.
The next day Manfred asks me what’s going on with John and I have no idea what to tell him. We finished the album, somehow, and that was that for that trio." *
Looking back and listening to these albums again, I ask Peter how he would describe the impact the work of this particular group has had on your playing and subsequent career? "I like to think that the music has had a positive impact upon all who have heard the trio, whether in concert or by way of the CDs", the drummer replies. "I’m delighted that these formerly out-of-print albums have resurfaced in the form of a terrific box set. John Kelman has written a wonderful booklet of liner notes, and the set has the unique and usual amount of austere classiness associated with the ECM label.
I tend not to think of the musical events or opportunities of my life in terms of their career impact (apart from my earlier career choices and opportunities). Life, like drumming, is made up of choices. We all simply try to do the best that we can. The ECM trio with John and Palle made a lot of sublime music, all of it excellent and honest in my opinion. Playing with John and Palle, as well as working so much in the studio with Manfred on those four albums, certainly informed my musical being and was instrumental in making me the drummer I am today. I can only express gratitude."
I tend not to think of the musical events or opportunities of my life in terms of their career impact (apart from my earlier career choices and opportunities). Life, like drumming, is made up of choices. We all simply try to do the best that we can. The ECM trio with John and Palle made a lot of sublime music, all of it excellent and honest in my opinion. Playing with John and Palle, as well as working so much in the studio with Manfred on those four albums, certainly informed my musical being and was instrumental in making me the drummer I am today. I can only express gratitude."
* Excerpts from No Beethoven: Autobiography & Chronicle of Weather Report by Peter Erskine
For more information visit ECM Records and Peter's website at www.petererskine.com
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