Peter Evans Octet is due to play on the 8th of August 2013 in Lisbon, while on the 30th edition of Jazz in August (Jazz em Agosto) in Gulbenkian Foundation. Pedro Tavares exchanged a few familiar words with the musician.
This octet comes from your quintet, Brandon Seabrook, Dan Peck and Ian Antonio coming in. What are you trying to achieve and/or explore with this addition and with these musicians?
This group is mostly about featuring incredible personalities and musical voices - all of these guys are so unique. I can say about all of the players that they are extreme “characters”, in some cases complete lunatics. So the idea is to provide a situation where their sounds and styles can be combined and unleashed on the general public. My goal is to explore and experiment with composing for and improvising with these musicians and allowing everyone to explore their full range. Almost everyone is playing multiple instruments.
Tell me about the importance of Mark Gould and Evan Parker in your work as a musician.
Both are important mentors and influences at my entry into creative music making!
Who are your favorite trumpeters?
Here is a short list of some of my favorites: Roy Eldridge, Kenny Wheeler, Woody Shaw, Axel Dörner, Mongezi Feza, Nate Wooley.
Was the experience with Evan Parker Electro-Acoustic Ensemble, especially regarding digital processing, the starting point for your bet in electronics?
No, I had worked with live electronics at Oberlin around 2001/2 and had some frankly disappointing encounters in the years after that. But I didn’t develop a big interest until working with Evan. I saw that it could be done well! After working with his band and meeting some of the players, I was thinking of other possibilites that would work for my own music and musical goals. And the way that was posible was because of Sam.
The idea with the quintet was to combine live electronics and notated material and improvisation in a new way. That was the initial experimental impulse that gave birth to the quintet… and it has been developing on its own ever since.
I know that Sam Pluta is a fundamental piece on your work right now. Why?
I cannot say enough great things about Sam. The only reason I really started the quintet is because I knew he had a broad enough skill set to actually make it work: reading scores and a solid background in traditional music, live electronics, high level improvising. Added to that there is a shared aesthetic or value system about music in general. I think he is the most advanced and nuanced improvisor with live electronics around. We have collaborated in situations ranging from jazz music with chord changes, chamber pieces with flutes and oboes, fully improvised duets.
I don’t know any other live electronics musicians who could adapt their playing to these situations so fluidly. Check out the playing on the new “Rocket Science” CD… it documents the first meeting of Craig Taborn, Evan Parker, Sam and myself. It is some of the most dynamic and detailed live electronics improvising I’ve ever heard.
Are you a master on circular breathing and can you easily do things or jump between different registers as saxophone players normally do?
It is just a process of continuous practice and refinement to actualize the sounds I hear in my head. There isn’t really “mastery”.
What projects are you presently involved?
Many things! My acoustic Zebulon trio, with John Hebert and Kassa Overall. We will be playing a lot this fall, touring Europe and recording a second album. The quintet will release our second album soon and in the meantime I am thinking about writing a third set of music (Ghosts being the first, the next album being the second).
I am going to dive more deeply into solo playing again in the coming year, culminating in a new recording. I play in a very strange trio called Pulverize the Sound. It is a collaborative trio with Tim Dahl and Mike Pride. We have been rehearsing for the past 3 years and just recorded the music. I hope this band can do some playing outside of NYC, we’ve given very few performances so far…
You have recently issued an album with Clean Feed Records, "Trumpets and Drums". Tell me about this work and what it was like to play with Nate Wooley.
As I said above, Nate is one of my favorites. The concert we played last summer in Slovenia was also the recording session. Very unusual band with lots of possibilities. I hope we can do more.
I assume you know Lisbon reasonably well as you have come and played here several times. If Lisbon was music, can you imagine what type of music it could be?
I don’t think about music this way. I love Lisbon though!
As this concert will be a world first presentation of your current formation, what can we expect from your performance in Jazz em Agosto?
A hurricane of sound… larger than life musical characters…
Are you a master on circular breathing and can you easily do things or jump between different registers as saxophone players normally do?
It is just a process of continuous practice and refinement to actualize the sounds I hear in my head. There isn’t really “mastery”.
What projects are you presently involved?
Many things! My acoustic Zebulon trio, with John Hebert and Kassa Overall. We will be playing a lot this fall, touring Europe and recording a second album. The quintet will release our second album soon and in the meantime I am thinking about writing a third set of music (Ghosts being the first, the next album being the second).
I am going to dive more deeply into solo playing again in the coming year, culminating in a new recording. I play in a very strange trio called Pulverize the Sound. It is a collaborative trio with Tim Dahl and Mike Pride. We have been rehearsing for the past 3 years and just recorded the music. I hope this band can do some playing outside of NYC, we’ve given very few performances so far…
You have recently issued an album with Clean Feed Records, "Trumpets and Drums". Tell me about this work and what it was like to play with Nate Wooley.
As I said above, Nate is one of my favorites. The concert we played last summer in Slovenia was also the recording session. Very unusual band with lots of possibilities. I hope we can do more.
I assume you know Lisbon reasonably well as you have come and played here several times. If Lisbon was music, can you imagine what type of music it could be?
I don’t think about music this way. I love Lisbon though!
As this concert will be a world first presentation of your current formation, what can we expect from your performance in Jazz em Agosto?
A hurricane of sound… larger than life musical characters…
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Ligação :
Foto por Peter Gannushkin
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