Legendary saxophonist and composer Charles McPherson recently took part
in a question and answer session with BSH's correspondent Russell with some
interesting and informative answers. Charles McPherson's new album Jazz
Dance Suites will be reviewed on BSH shortly. Our thanks to Lydia
Liebman of Lydia Liebman Promotions for setting this interview up.
Photo (left) is courtesy of © Antonio Porcar.
Photo of Camille and Charles McPherson (below) is courtesy of © Tariq Johnson.
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Bebop
Spoken Here (BSH): Hello Charles. Thank you for taking the time to talk to
Bebop Spoken Here. It's good to know that a jazz blog here in Britain is able
to connect with a musician based in San Diego! First of all, how are you in
these strange times?
Charles: Missing traveling to Britain, for one
thing! Thank you Bebop Spoken Here for
the interest! Really missing a lot of
what my “concert season” was going to be.
It’s hard to see everyone out there not working; concerts just
ending. The news in the U.S. and how our
leaders are handling things is deeply troubling, but I’m hanging in there.
BSH: In
March the ongoing pandemic brought an abrupt halt to concert engagements and
studio recording sessions. How have you been occupying your time? Have you
taken the opportunity to practice more than usual or perhaps write new material
or have you been inclined to take time out to reflect on the current situation?
Charles: I always practice/play hours every day
when I’m home, so no more than usual.
I’ve been more inspired to play than compose, but once new ideas come,
it’s hard to turn that off. “Reflect on
the situation”--if I spend too much time “reflecting”, I’m constantly consumed
with rage, and I’m trying to live life as well as can be. I’m teaching online much more than I ever
have; that’s been a source of staying connected. I’m reading more, trying to stay in
shape. Waiting for this all to end so we
can all get back out there and play. I had a lot of interesting
projects/performances cancelled! (I’m
not the only one)
BSH: Many
musicians have embraced online live stream gigs as a means of supplementing
their income or simply to stay in touch with other musicians and the wider jazz
community. Have you watched any of the online events and have you considered performing
a live stream set?
Charles:
I’ve watched quite a few, and some good ones!
I’ve participated in a way, by having pre-recorded live concerts
released that would have never been widely seen. I’ve done quite a few
interviews for all sorts of media; that’s been interesting. I’ve had to stay clear from getting too
close to anyone besides immediate family, because of Covid 19. I may be streaming with one of my favourite
pianists, Randy Porter soon--I’ll stay as active performing as possible.
BSH: Some
years ago you were appointed composer-in-residence with San Diego Ballet. As a
jazz musician have you found working with a dance company requires a different
approach to composition? To the casual observer dance, unlike jazz, doesn't
lend itself to extended improvisation or do you see it differently?
Charles: It’s all been an enlightening experience in
many ways. One of the Suites, “Song of
Songs” has a theme--a story from the Old Testament, and once I got going on
that, it inspired much of the mood & melodic ideas of the music. Most of the writing has more extended forms,
thematic links between movements, and more rhythmic hits even within
improvisational times so the choreography always has something to hold on
to. Another work I did for strings (on this
recording one part was adapted for just piano, bass and alto: Reflection
on an Election) had no improvisation in it, but my part & a bit for the
bass. I wrote everything out for
everyone. I learned a lot from that,
and hope to do more string writing.
You’ll hear more contrapuntal writing in this group too. For instance, after watching so much dance, I
“see” more people moving and think of multiple melodies. My classical pianist wife Lynn helps a bit
with that too--hears what I’m doing and comes in and suggests putting lines
together. She’s contributed to a few of
the works. That’s been different. So yes, the approach is different, but I
believe that its added dimension to my writing. I’ve also arranged two little suites for
trio/quartet that have been a lot of fun:
A “Gershwin Medley” and most recently a “Tribute to Bird”. Audiences have loved them.
BSH: Your
daughter Camille (see photo) is a dancer with San Diego Ballet. You must be very proud of
her achievements with her home town dance company.
Charles: I absolutely am. Her first pro-job was a trainee at the
Pittsburgh Ballet Theatre at 18, and when she was hired here in San Diego, I
was elated. I had no idea at the
beginning that we would be working together, but as I said in the liner
notes: This work is dedicated and
inspired by Camille. None of it would
have happened if she didn’t dance here in SD, and under her boss Javier
Velasco, who loves jazz and really does an amazing job with my music. It’s been a win-win on many levels, and I’m
beyond proud.
BSH:
Jazz, dance, film - you have successfully embraced several art forms. If
someone asks what your occupation is, do you reply: Jazz musician?
Charles: Yes.
BSH: You
composed Reflections and Hope around the time of the 2016 US election. How do
you reflect on the outcome - Trump is in the White House - and do you remain
hopeful?
Charles:
There is a short middle movement called “Turmoil” within that piece. I think I feel that more than “hopeful”. It’s devastating that Trump was elected in
the first place, and it just keeps on getting worse, now people are dying
because of him. I have to be “hopeful”;
I have kids, grandkids and a bunch of great-grandkids. On a daily bases though, it’s tough. You may hear that on the recording: “Reflection on an Election”. I can say much more, but I’ll leave it there
for now. Trying to stay hopeful…….
BSH:
Bebop Spoken Here was created a little over twelve years ago but as jazz fans
we were present at some of your gigs here in Britain long before then. Some of
those gigs were more than forty years ago! To this day we fondly recall those
occasions when you hooked up with a British rhythm section to play a string of
jazz club dates. Looking back, were you aware at the time that some of us Brits
knew all about your Prestige albums (Bebop Revisited, Horizons and others),
your time working with Charles Mingus and, of course, your part in recreating
Charlie Parker's signature sound for the film Bird?
Charles: Yeah, I was.
A lot of fans came up and talked to me.
I’ve always enjoyed playing for British audiences. They’re there because they love the music, and
it’s an intelligent audience.
BSH: Is
it true that as a young man living in Detroit you got to hear the house band at
the Bluebird which at the time boasted a line-up including the likes of Tommy
Flanagan or Barry Harris, Thad Jones, Pepper Adams, Paul Chambers and Elvin
Jones? What a band!
Charles:
Yes, it’s true! This club was right down
the street from my house. Lonnie Hillyer, my trumpet player friend & I used
to stand in front of the club in the summer time on weekends and listen to
these great musicians play--when I was too young to go in. The club owner, Clarence, invited us in on
Sunday if we came in with our parents. We even sat in a few times as a kids. Lonnie and I both joined Mingus’ band at the
same time.
BSH: That
was way back when. Today it must be a thrill to work with so many talented
young musicians. Tell us about your upcoming album Jazz Dance
Suites.
Charles: The first full suite,
“Song of Songs”, inspired by the Biblical Story and collection of ancient
Hebrew love poems that celebrates the beauty and power of God’s Gift of love
& desire. Every tune was written
with either the feeling of unrequited love, yearning for love, dancing in-love,
praising love, or simply celebrating love.
A lot of the tunes hold together thematically, using a bit more Middle
Eastern scales than I typically use. “Sweet Synergy Suite”, not quite the full suite
here. Some sections didn’t stand well
alone for a recording, but this work was my first attempt at putting together 6
diverse compositions that would work well for choreography, and of course be
fun to play! I’ve performed several of
them a lot live, and fans have loved them and hoped to be able to take them
home---here you go! “Reflection” - very
personal for me; especially in the original form, but here to. I’ve played it like this in clubs a few
times; it leaves people feeling how I felt after that election.
I hired some of my favorite young
players: Terell Stafford on trumpet: really fun to play with. Great lines
beautiful trumpet sound. I hope we get to play a lot more. Randy
Porter and Jeb Patton on piano--great pianists with wonderful ears that
know the history of this music. They
both come from the right spot--the tradition of all the past greats. David
Wong on bass: full, rich bass sound,
nice line and improvisation, and a very nice young man that is a delight to
play with. Billy Drummond on drums:
Love Billy. Adds the perfect
groove every time. Yotam Silberstein on guitar:
a young gifted player from Israel who loves American Jazz and knows the
language well. Lorraine Castellanos singer from San Diego that also played the
guitar here on all the original shows.
Her voice was perfect for my music; she has a clear concept of how to
project her soul. She sings some of my
lyrics in Hebrew too, that was her doing!
We recorded at Van Gelder Studio--the sound and working with Maureen and
Don Sickler was outstanding.
BSH: Once
we get through this pandemic it would be great to see you playing some gigs
here in Britain. If you do make it over here be sure to let Bebop Spoken Here
know. You'll find us in the front row!
Charles: I
absolutely will be back, and I’ll surely let you know! Best to everyone in Britain. You all are great fans of jazz, and I
appreciate it every time I get to visit!
Thank you.
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