Hi Daniel, It's
kind of you to take time to talk to Bebop Spoken Here.
BSH:
First of all, Daniel Hersog is a new name to Bebop Spoken Here. Tell us a
little bit about your background. Where were you born (we know you were raised
in Vancouver and Victoria) and was there music in the family home and at
school?
Daniel:
I was born in beautiful Vancouver
British Columbia. I had the pleasure of growing up in a very musical household.
My Father is an avid jazz listener and passionate recreational piano player. I
am hugely fortunate to have had wonderful educators in my life. I had a
phenomenal high school music instructor, Mr. Bruce Ham. I have also been
mentored by Composer Fred Stride. These two people have had the biggest impact
on what I do musically today.
BSH:
You are a trumpeter, composer and arranger. Why trumpet? Was it always going to
be trumpet for you?
Daniel:
I played piano from a young age,
but it never really stuck. When I joined my elementary school band, I first chose
the clarinet. After two hours of not being able to make a sound, I returned it
for a trumpet. At age 15, I saw Jon Faddis live in concert. I sat in the front
row. It was like nothing I’d ever seen before, I was totally overwhelmed. I already
loved the trumpet then, but after that concert, my fate was sealed.
BSH:
You are a graduate of New England Conservatory. The Boston jazz scene must have
been a stimulating environment for you and your fellow students. Give us an
idea of the city and is there a friendly rivalry between NEC and Berklee
College of Music?
Daniel:
Going to New England Conservatory
changed my life. My time there shaped me as a composer, musician and as a person. I was in awe of the
artistry and work ethic my fellow students possessed. It was the first time I
had been somewhere where everyone loved music as much as I did.
While living in Boston,
regrettably, I didn’t take full advantage of the off-campus musical offerings.
In particular, I should have gone to see Jason Palmer at Wally’s much more than
I did. The NEC Berklee relationship was always positive when I was there. I
would get hired alongside Berklee musicians on gigs and recording jobs, and it
was always a pleasure.
BSH:
At NEC you were awarded the Gunther Schuller Medal. That must have been a proud moment. Did you get to meet Mr Schuller before
he died in 2015?
Daniel:
It was both proud and completely
unexpected. The award had been created that year, and I had no idea I would be
recipient until I was called on stage. I never got to meet Mr. Schuller. We had
hoped he would be able to come and rehearse us when we were playing the music
from “Miles Ahead” with the NEC Jazz Orchestra. Unfortunately, he was not well
enough at the time.
BSH:
Your debut big band album Night Devoid of Stars takes its title from a Martin Luther King
quote:
Returning violence for violence
multiplies violence, adding deeper darkness to a night already devoid of stars. Dr King's words of half a century ago seem to
be every bit as relevant today as they were then. Other than acknowledging the
inspirational source for the title of the album are you happy to let the music
speak for itself?
Daniel:
The title track “Night Devoid of
Stars,” begins musically in a dark place and ends on a hopeful note. Cloudbreak shares that idea as well. Light
seeping through the darkness.
Obviously this past week has been
unbelievably trying and difficult for many many people. A difficulty that I
will never understand.
I’m writing this on the morning
of June 8th, and it feels like light is starting to shine through. Long overdue
progress is being made, and people with bravery and courage that exponentially
surpasses my own our serving as leaders and affecting change.
BSH:
I imagine you hand-picked your sixteen-piece big band. Does the Vancouver - and
wider Canadian - jazz scene present you with a large
pool of top class musicians to call upon?
Daniel:
Absolutely it does. I just put
together a cross-Canada jazz orchestra for a remote big band project. Our first
video will debut July 1st (Canada Day). There are musicians from all 10
provinces, all of whom play brilliantly, and there are many many others all
over the country. In addition to Vancouver, I’ve led big bands in Toronto and
Montreal. The level of musicianship in those cities is stunning.
You
don't play on Night Devoid of Stars.
Did you set out with the intention of making it a non- playing,
composer/arranger project?
Daniel:
Yes. I play trumpet in all other
projects with which I’m
involved. I’m more
than happy for this one to be about the writing. I have four great trumpet
players in my band, Including Brad Turner who is one of my long time musical
heroes. Each one of them contributes with a unique voice, I love their
contributions to my music.
BSH:
It is interesting that you cite Gil Evans as an inspiration. The opening track on
the album, Cloud Break reminds me, in parts, of Miles Davis’
Bitches Brew. Brad Turner and Noah
Preminger make superb contributions supported by a swinging rhythm section. As
a composer and arranger how hands-on were you with the musicians? Did you know
exactly what you wanted from
the ensemble and soloists or were you happy to see what emerged during the
studio recording sessions?
Daniel:
That’s a great question! I was
very hands-on in terms of how I wanted the written ensemble passages to be
played, and very hands-off in terms of what the soloists contributed. Frank,
Noah, and Brad are brilliant improvisers, I trusted they would elevate my
compositions, and they did just that. I’m really quite in awe of them.
BSH:
We are familiar with the work of Noah Preminger having reviewed a couple of his
albums in recent years. His tenor sax playing on Makeshift Memorial is restrained, wrought and, to my ears,
exactly what the piece requires. It must be a pleasure to write and arrange
material knowing Noah is onboard.
Daniel:
Absolutely. This whole album was
written with Frank and Noah in mind. Their versatility and range make it an
absolute thrill to write music for them. They also have a great spirit, they
are exceptionally well prepared, and they are two of my dear friends. I feel
profoundly lucky that I get to write for their musical voices.
BSH:
The title, Makeshift Memorial,
is, of course, part commentary on gun violence. Did you ever imagine it would have
such resonance in today's pandemic world?
Daniel:
No. These last few months are
like nothing I could have imagined. I think that speaks to my own privilege. I
can watch media and be appalled at the discrimination and violence that I see,
but I do not have to live it. For many people, this is their day to day
reality.
BSH: Looking at Cellar Music's impressive
catalogue it must give you great pleasure to find yourself working with the
Vancouver based label. How did the association come about?
Daniel:
I’ve known Cory Weeds for quite
some time. He gave the DHJO our first ever gig at the Cellar jazz club. About a
month before we went in to record, I got a text from him that said “let’s talk
about your record.” Suffice to say, I’m thrilled to be on Cellar Music’s label,
grateful for Cory’s Support, and I hope this will be the first of many
collaborations.
Cory is incredibly hard working
and our Vancouver jazz scene would be unrecognizable without his contributions.
BSH:
You have studied and/or worked with many established names, including Ralph
Alessi, Frank Carlberg and Jason Palmer (Alessi and Palmer have played gigs on
Tyneside, Bebop Spoken Here's heartland in the north east of England!). In your
mid-thirties do you find it easy being the 'boss' in the company of such
luminaries?
Daniel:
Bandleader and boss are two very
different things for me. As a bandleader, I really feel like I work for my
ensemble, not the other way around. Everyone in my ensemble is welcomed and
encouraged to make changes and suggestions about all aspects of what we do. I’m
lucky to have them. It’s really an ensemble filled with my role models. I write
the music and I share my vision for it, but I’m no one’s boss.
BSH:
We try to keep up to date with what's happening across the Atlantic and it
seems that contemporary big bands are flourishing; Maria Schneider is a big
name over here and Darcy James Argue is increasingly known. Do you know these
guys personally or are they simply 'names' on the scene?
Daniel:
I’ve attended masterclasses with
both Darcy and Maria, and I have seen their bands play live. I am of course
huge admirers of their work. When I was considering graduate schools, I reached
out to Darcy and he kindly wrote me a hugely detailed and helpful response. We
are from the same town. I think both Darcy and Maria are fabulous stewards for
this music, I’m grateful they do so much.
BSH:
Talking of England (and, more widely, Europe), do you have any plans to tour
over here?
Daniel:
I would love too! My mother is
Scottish, and I have family living in the UK. It definitely will happen, but at
the moment it’s hard to say when.
BSH:
Thanks again Daniel. Please keep us updated on gigs, tours, recording projects
and anything else you're up to.
Daniel
Hersog's Night
Devoid of Stars will be
released on Cellar Music (CM051119) on June 12.
Russell
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