JULIAN COSTELLO - Transition Complete
After building himself a solid reputation with a couple of albums under his belt, saxophonist Julian Costello seemed to disappear from the scene. As always the truth tells a somewhat different story with Julian swapping occupations from a gigging musician to the more stable world of teaching.
Now his family are little older, the urge to once again pick up the horns has again required a change of course, and with the debut release of his new Quartet album on 33 Records the transition is now complete.
His new album, Transitions, brings together an international quartet with Costello bringing forth a group sound and a set of highly memorable compositions that will ensure that this is one of the standout small group albums of the year.
Having been fortunate enough to secure an advance copy a month or so ahead f the scheduled release date this month, Jazz Views took the opportunity to catch up with Julian and ask him about his return to the life of a jazz musician.
Now his family are little older, the urge to once again pick up the horns has again required a change of course, and with the debut release of his new Quartet album on 33 Records the transition is now complete.
His new album, Transitions, brings together an international quartet with Costello bringing forth a group sound and a set of highly memorable compositions that will ensure that this is one of the standout small group albums of the year.
Having been fortunate enough to secure an advance copy a month or so ahead f the scheduled release date this month, Jazz Views took the opportunity to catch up with Julian and ask him about his return to the life of a jazz musician.
Can you tell us about your new album?
Yes it's called Transitions and it was recorded, mixed and mastered at The Artesuono Studios in Italy by ECM engineer Stefano Amerio between 6-8th April 2017. It features me on Tenor and Soprano Saxophones, Maciek Pysz on Electric and Classical Guitars, Yuri Goloubev on Double Bass and Adam Teixeira on Drums and Percussion. All the compositions are by myself.
What is the meaning behind the albums title, Transitions?
Ok this is because the tracks segue into each other in a continuous flow. I put a lot of thought into the order of the tunes so that hopefully there is a musical journey through different moods, musical colours and different feelings. We have been playing our first sets live like this and someone once came up to me at a gig and said "your music is really trippy, I feel like I am being taken to different places". I liked that description. There is also a personal family reason to do with the comings and goings of different children in our house and how these "Transitions" impact on everyone.
The quartet has a very distinctive sound, with a wide range of influences from the different countries of the members of the group. How did the quartet come together and why did you pick these specific musicians?
Thank you for saying the band has a distinctive sound. I met and played some gigs with Maciek in 2016 and we immediately got on. I love his guitar playing it's very individual. He introduced me to Adam and we started jamming and also got on well. He is a fantastic drummer who really knows his stuff and listens and plays with such musicality. I met Yuri as he was playing in Maciek's quartet and I was really pleased when he agreed to do some gigs and then record the album. He is also a superb musician and an amazing Bass Player. I think as well as getting on musically we also relate to each other as people. This is important in creating a band sound. When I explained to them about my musical concepts they really seemed to "get" my ideas. I think if you ask musicians to play your music you should let them bring their own personalities and ideas and make contributions themselves as much as possible. I think they did this.
The first half of the album is played a a continuous 'set' with the first seven tunes seguing together. This is something that you do live, but why did you choose the same approach in the studio?
Gigging music is a really good way to get the music together. jamming is really important, after all this is improvised music. We took the same approach in the studio, although we recorded the tracks individually, we tried to keep to the same concept and recorded them in the order they are heard on the album.
Yes it's called Transitions and it was recorded, mixed and mastered at The Artesuono Studios in Italy by ECM engineer Stefano Amerio between 6-8th April 2017. It features me on Tenor and Soprano Saxophones, Maciek Pysz on Electric and Classical Guitars, Yuri Goloubev on Double Bass and Adam Teixeira on Drums and Percussion. All the compositions are by myself.
What is the meaning behind the albums title, Transitions?
Ok this is because the tracks segue into each other in a continuous flow. I put a lot of thought into the order of the tunes so that hopefully there is a musical journey through different moods, musical colours and different feelings. We have been playing our first sets live like this and someone once came up to me at a gig and said "your music is really trippy, I feel like I am being taken to different places". I liked that description. There is also a personal family reason to do with the comings and goings of different children in our house and how these "Transitions" impact on everyone.
The quartet has a very distinctive sound, with a wide range of influences from the different countries of the members of the group. How did the quartet come together and why did you pick these specific musicians?
Thank you for saying the band has a distinctive sound. I met and played some gigs with Maciek in 2016 and we immediately got on. I love his guitar playing it's very individual. He introduced me to Adam and we started jamming and also got on well. He is a fantastic drummer who really knows his stuff and listens and plays with such musicality. I met Yuri as he was playing in Maciek's quartet and I was really pleased when he agreed to do some gigs and then record the album. He is also a superb musician and an amazing Bass Player. I think as well as getting on musically we also relate to each other as people. This is important in creating a band sound. When I explained to them about my musical concepts they really seemed to "get" my ideas. I think if you ask musicians to play your music you should let them bring their own personalities and ideas and make contributions themselves as much as possible. I think they did this.
The first half of the album is played a a continuous 'set' with the first seven tunes seguing together. This is something that you do live, but why did you choose the same approach in the studio?
Gigging music is a really good way to get the music together. jamming is really important, after all this is improvised music. We took the same approach in the studio, although we recorded the tracks individually, we tried to keep to the same concept and recorded them in the order they are heard on the album.
You play as much soprano on the album as the tenor. Was this a conscious decision?
Not really. But I think each instrument has a different colour and I tried to think about matching each instrument with what I am trying to say on the tune.
You have an equally strong presence on both horns, do you have a preference for tenor or soprano?
Thanks. When I started playing the saxophone it was the Soprano that really grabbed me. But I like them both equally although I tend to practise the Tenor more.
Can you tell me about yourself? How did you come to play the saxophone, and jazz in particular?
I started off playing the drums particularly in Rock Bands at about 14. Then I heard Jimmy Hendrix. This was music that to me, was full of expression, energy and passion. Hendrix was a genius who completely broke new ground. I also really liked Mitch Mitchell's drumming. The next step for me was John Coltrane and I took up the saxophone. I also really liked what ECM was doing and particularly Jan Garbarek. I practised a lot and was fortunate in gaining a bursary to study at Trinity College of Music.
You have previously released a couple of albums, but I understand that you took a bit o f a sabbatical from playing?
Indeed. The main reason was because I had been living in various flats around Holborn for about ten years and I wanted to buy somewhere. Getting a mortgage is hard as a musician and property in London ...... well it's hard. I got a job as a full-time teacher for a while and bought a flat in Kings Cross.
What made you decide to return to playing again?
A change in personal circumstances, a strong feeling of having something to say and eating too much cake.
For the gearheads, can you tell us about your saxophone set up?
I play a 1932 Conn Transitional Tenor with a 7* Otto Link mouthpiece and a 1967 Selmer Mkvi Soprano. As to Reeds - let's not go there!
What about influences? And what do you listen to for pleasure?
John Coltrane, Jan Garbarek, Iain Ballamy, Wayne Shorter, Jimmy Hendrix, Kenny Wheeler, Ralph Towner, Keith Jarrett and Maurice Ravel. I am currently listening to a lot of Dexter Gordon, Seamus Blake, Chris Potter and Julian Argüelles.
And plans for the future, do you hope to keep the quartet together long term?
Yes we are touring this October and November with support from the Arts Council of England. I would like to do that again next year and write some new material. I want to play as much as possible.
Not really. But I think each instrument has a different colour and I tried to think about matching each instrument with what I am trying to say on the tune.
You have an equally strong presence on both horns, do you have a preference for tenor or soprano?
Thanks. When I started playing the saxophone it was the Soprano that really grabbed me. But I like them both equally although I tend to practise the Tenor more.
Can you tell me about yourself? How did you come to play the saxophone, and jazz in particular?
I started off playing the drums particularly in Rock Bands at about 14. Then I heard Jimmy Hendrix. This was music that to me, was full of expression, energy and passion. Hendrix was a genius who completely broke new ground. I also really liked Mitch Mitchell's drumming. The next step for me was John Coltrane and I took up the saxophone. I also really liked what ECM was doing and particularly Jan Garbarek. I practised a lot and was fortunate in gaining a bursary to study at Trinity College of Music.
You have previously released a couple of albums, but I understand that you took a bit o f a sabbatical from playing?
Indeed. The main reason was because I had been living in various flats around Holborn for about ten years and I wanted to buy somewhere. Getting a mortgage is hard as a musician and property in London ...... well it's hard. I got a job as a full-time teacher for a while and bought a flat in Kings Cross.
What made you decide to return to playing again?
A change in personal circumstances, a strong feeling of having something to say and eating too much cake.
For the gearheads, can you tell us about your saxophone set up?
I play a 1932 Conn Transitional Tenor with a 7* Otto Link mouthpiece and a 1967 Selmer Mkvi Soprano. As to Reeds - let's not go there!
What about influences? And what do you listen to for pleasure?
John Coltrane, Jan Garbarek, Iain Ballamy, Wayne Shorter, Jimmy Hendrix, Kenny Wheeler, Ralph Towner, Keith Jarrett and Maurice Ravel. I am currently listening to a lot of Dexter Gordon, Seamus Blake, Chris Potter and Julian Argüelles.
And plans for the future, do you hope to keep the quartet together long term?
Yes we are touring this October and November with support from the Arts Council of England. I would like to do that again next year and write some new material. I want to play as much as possible.
For more information visit Julian's website. Click on the album cover to read our review.
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