QUERCUS - Laying Down Roots & Branching Out
Quercus are currently one of the most intriguing trios on the UK scene, bringing the improvisational prowess of saxophonist Iain Ballamy and pianist Huw Warren together with the voice of folk singer June Tabor and embracing a musical repertoire that includes traditional songs alongside jazz standards, Bob Dylan and songs from musicals.
Both the saxophonist and pianist will be familiar to readers of this site, but it is the addition of June Tabor that sets Quercus apart as not just another trio, but one that stands out through the originality and sheer musicality of her voice. Tabor never fails to bring to life, in a most immediate way, the words to the song that communicate on a very intimate level to the listener. A true story teller, Tabor embraces the material in a manner that recalls the time honoured way of passing on stories and events through song from one generation to the next and bringing to our attention some old songs presented in a new light.
As the trio see the release of their second album, Nightfall for ECM, Jazz Views had the great pleasure of talking to June about the new album and the work of this remarkable group.
Both the saxophonist and pianist will be familiar to readers of this site, but it is the addition of June Tabor that sets Quercus apart as not just another trio, but one that stands out through the originality and sheer musicality of her voice. Tabor never fails to bring to life, in a most immediate way, the words to the song that communicate on a very intimate level to the listener. A true story teller, Tabor embraces the material in a manner that recalls the time honoured way of passing on stories and events through song from one generation to the next and bringing to our attention some old songs presented in a new light.
As the trio see the release of their second album, Nightfall for ECM, Jazz Views had the great pleasure of talking to June about the new album and the work of this remarkable group.
Can you tell us about the new album, which draws material from a wide range of musical sources, from traditional songs, West Side Story and jazz standards. How do decide what will work for the trio and how did you select the repertoire for Nightfall?
The diversity of material on Nightfall directly relates to the fact that I see songs as stories, and it doesn't matter to me where they come from as long as the story they tell is a strong one. My starting point as a singer was based on my upbringing and music I heard throughout my childhood, mostly from the radio and from my parents, and thentraditional music heard in folk clubs as well as other influences which came later.
I always start with the words and then look at how the music works with them. The songs might be unfamiliar, or they might be well-known. I will always select songs that speak to me personally. I don't write myself. I am the medium through which the song is conveyed. I find that many traditional songs have a relevance and meaning today through the words, although they may have been written or sung a long time ago. For example 'The Manchester Angel', a beautiful song with poignant words which tells the story of a soldier and a girl meeting, falling in love and then having to part - something that's always been happening and will no doubt continue to happen, and is certainly happening as we speak. A song has many lives. It depends who is listening and when, both personally and historically, and the meaning can change completely. A perfect example of this (though it's not on the album) is 'You'll Never Walk Alone', that was originally written in 1954 by Rodgers and Hammerstein for their musical Carousel, and has now acquired a wholly different meaning for many people.
Quercus comprises not one but three distinct and individual voices. I tell the story through the words while Huw and Iain weave in their own illustrations of the narrative.
The diversity of material on Nightfall directly relates to the fact that I see songs as stories, and it doesn't matter to me where they come from as long as the story they tell is a strong one. My starting point as a singer was based on my upbringing and music I heard throughout my childhood, mostly from the radio and from my parents, and thentraditional music heard in folk clubs as well as other influences which came later.
I always start with the words and then look at how the music works with them. The songs might be unfamiliar, or they might be well-known. I will always select songs that speak to me personally. I don't write myself. I am the medium through which the song is conveyed. I find that many traditional songs have a relevance and meaning today through the words, although they may have been written or sung a long time ago. For example 'The Manchester Angel', a beautiful song with poignant words which tells the story of a soldier and a girl meeting, falling in love and then having to part - something that's always been happening and will no doubt continue to happen, and is certainly happening as we speak. A song has many lives. It depends who is listening and when, both personally and historically, and the meaning can change completely. A perfect example of this (though it's not on the album) is 'You'll Never Walk Alone', that was originally written in 1954 by Rodgers and Hammerstein for their musical Carousel, and has now acquired a wholly different meaning for many people.
Quercus comprises not one but three distinct and individual voices. I tell the story through the words while Huw and Iain weave in their own illustrations of the narrative.
The three of you have been working as Quercus for more than a decade, how did the trio come together, and how do you feel that your music has evolved over time?
Huw and I have been working together now for almost thirty years, sometimes just the two of us but more often with other instruments too. For quite some time in the 1990s we worked with Mark Lockheart and occasionally Julian Argüelles. I like the way tenor saxophone, especially, sounds alongside my voice. I knew of Iain through his albums Balloon Man and All Men Amen.
In 2004 Huw was doing a trio gig at Berlin Jazz Festival with Martin France and Tim Harries. Peter Schulze, the festival director suggested adding myself and Iain Ballamy as special guests. I sang a few songs within their set, and I just loved the way Iain's tenor shadowed my voice. Iain then played on my album At The Wood's Heart the following year. These two things led to the idea that we should do some gigs as a trio.
Quercus' debut album was recorded in 2006 but not released until 2013. Why wait so long before releasing the album?
Nearly all of our early gigs were recorded via the mixing desk for us to listen back to, and it was one of those early gigs that was released as our first album. We were looking for a label that would be interested in recording and releasing a Quercus album, and it was around this time that Iain had begun his association with ECM. Eventually Manfred Eicher heard the recording and he expressed an interest in recording the trio, and in fact it was Manfred who suggested that we should release the live recording as our debut rather than going into the studio and recording much of the material again. He obviously heard what we we trying to achieve in that early recording, and I think the spirit of that first album is continued on Nightfall.
Huw and I have been working together now for almost thirty years, sometimes just the two of us but more often with other instruments too. For quite some time in the 1990s we worked with Mark Lockheart and occasionally Julian Argüelles. I like the way tenor saxophone, especially, sounds alongside my voice. I knew of Iain through his albums Balloon Man and All Men Amen.
In 2004 Huw was doing a trio gig at Berlin Jazz Festival with Martin France and Tim Harries. Peter Schulze, the festival director suggested adding myself and Iain Ballamy as special guests. I sang a few songs within their set, and I just loved the way Iain's tenor shadowed my voice. Iain then played on my album At The Wood's Heart the following year. These two things led to the idea that we should do some gigs as a trio.
Quercus' debut album was recorded in 2006 but not released until 2013. Why wait so long before releasing the album?
Nearly all of our early gigs were recorded via the mixing desk for us to listen back to, and it was one of those early gigs that was released as our first album. We were looking for a label that would be interested in recording and releasing a Quercus album, and it was around this time that Iain had begun his association with ECM. Eventually Manfred Eicher heard the recording and he expressed an interest in recording the trio, and in fact it was Manfred who suggested that we should release the live recording as our debut rather than going into the studio and recording much of the material again. He obviously heard what we we trying to achieve in that early recording, and I think the spirit of that first album is continued on Nightfall.
You and Huw Warren have worked closely together for more than thirty years in projects that are completely different from your work with Iain. How do you feel that your music together has changed over this time, and was the the formation of Quercus a natural progression of your joint musical journey?
I don't feel that what Quercus does is completely different from my previous work. In fact it is a logical progression from past albums in both content and performance. Having Huw as an accompanist is like having an orchestra at your disposal. He listens so intently, and works with the words of the song. His touch and timing at the piano are quite incredible. He has an astonishing sense of harmony, and he builds a foundation out of which the song can grow.
Why the name Quercus for the trio?
Quercus means oak : a strong tree with a long life and a continued presence even after death. The spread of its roots equals that of its canopy. In an oak, what is seen and is not seen are equally important. Ancient wood and new growth are all part of its identity. The Oak embodies simultaneously preservation, renewal and creation. We try to do the same through our music.
You asked me at the beginning to tell you about the new album, so at last: for me Nightfall is like a film that starts at the end of the story, with the quiet acceptance of remembering, followed by a series of 'flashbacks' from the troubled past and, finally, hope for a new beginning.
I don't feel that what Quercus does is completely different from my previous work. In fact it is a logical progression from past albums in both content and performance. Having Huw as an accompanist is like having an orchestra at your disposal. He listens so intently, and works with the words of the song. His touch and timing at the piano are quite incredible. He has an astonishing sense of harmony, and he builds a foundation out of which the song can grow.
Why the name Quercus for the trio?
Quercus means oak : a strong tree with a long life and a continued presence even after death. The spread of its roots equals that of its canopy. In an oak, what is seen and is not seen are equally important. Ancient wood and new growth are all part of its identity. The Oak embodies simultaneously preservation, renewal and creation. We try to do the same through our music.
You asked me at the beginning to tell you about the new album, so at last: for me Nightfall is like a film that starts at the end of the story, with the quiet acceptance of remembering, followed by a series of 'flashbacks' from the troubled past and, finally, hope for a new beginning.
For more information visit the Quercus website and ECM Records.
Click on the album cover to read our review. |
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