She may be blessed with an almost supernatural beauty, but it’s her uncanny instrumental chops and angelic multi-lingual siren call that had Variety hailing her as ‘The ‘IT’ girl of Jazz”.
The Grammy-winning bassist, vocalist and composer and her Chamber Music Society blend the intrigue of jazz improvisation with sophisticated classical string trio arrangements at the Cape Town International Jazz Festival this weekend.
You’ve collaborated with everyone from smooth jazzers Fourplay and Stanley Clarke to hard bop anthropologist Joe Lovano and alt. country experimentalist M. Ward. Given your versatility do you even consider yourself a ‘jazz’ musician?
I play improvised music, and so it may therefore be easier to class that as jazz, since that can cover so many styles at the same time.
Listening to the melting pot of Latin rhythms, African grooves, bebop and classical music percolating through your solo albums Junjo (2006), Esperanza (2008) and Chamber Music Society (2010) is it fair to say that you agree with Miles Davis’ maxim: ‘I’ll play it first and tell you what it is later”?
[I] Like that!!!
Since Miles famously dropped out of Julliard there’s been this stereotype that jazz musicians are ‘too cool for music school”. You know, that a jazz artist can only really hone his/her skills by sitting in with other cats in the clubs. Is this an anachronism? Where did you learn more – at Berklee or on the road?
Each environment is special, and I wouldn’t say that one was more important than the other, you need to go to school to learn how read yet playing live is also so educational in its own right, and I have learnt and I still am learning, so much being on stage. The best is having a good mix of the two.
What is it about the (sound of the) bass that made you put down the violin and the cello?
The resonance, and the first time I played, the sound of the instrument just physically was intriguing, so I stood there and played notes just to hear it, just to feel that resonance. It was really amazing experience if you’d never played bass — especially compared to a screechy violin. And the improvisational aspect of jazz and bass that attracted me. After 10 years of playing classical music one of my teachers showed me the concept of a walking bass line. It was eye-opening to me, discovering that I could just pick up an instrument and play what sounded good to me. The other thing about bass is that it opened up composition to me, which arose out of the improvisational nature of the instrument and of jazz.
You’re also a singer, what is the relationship between your singing and bass voices?
They are part of each other, I have always sung whilst playing, though I’ve had to study, gain how to articulate and come to understand the mechanism of my voice, like how I’ve done with the bass.
You’ve cited Ron Carter’s ‘orchestration” and Dave Holland’s ‘compositional methods” as major influences on you, and Wayne Shorter and Milton Nascimento as heroes. Are there any women in jazz who have been an inspiration for you – creatively and spiritually?
They are many, many musicians from all styles of music as well as artists, writers, my mom, my family, teachers who have all encouraged and supported me. The list is huge.
Are there any albums that struck a chord with you in terms of formulating your own musical philosophy?
One’s own musical philosophy is something that evolves and develops over many years. Of course there are a few records that have really affected me deeply, and each year I discover new music that has a profound effect on my musical mind. I don’t know about the word PHILOSOPHY…it’s an approach to expressing ideas I do not completely identify with. Expressing one’s musical philosophy is to me comparable to a poet explaining what they mean in a poem. The poem IS the explanation of their world view encapsulated within the symbolism of the subject. I can be more vague if you want! Ha ha ha ha….!
Bassist Charles Mingus famously said ‘In my music, I’m trying to play the truth of what I am. The reason it’s difficult is because I’m changing all the time.” Would you agree?
I totally agree with that. But, you know, whether we are trying to or not, out music and art as a whole ends up looking and sounding just like what we are. Of course more or less so depending to each receiver with varying sensitivity.
You’ve been quoted as saying that jazz has lost its street value and its relevance to ‘the Black experience to the Black Diaspora and beyond”, that it’s been co-opted by the “seasoned ‘art’ community.” Are you concerned that jazz is becoming classical music?
Jazz is organic, constantly changing, and our generation, we don’t just listen exclusively to one genre, that’s why jazz is so exciting, it is a living being.
What’s your opinion on the Great American Songbook, should standards be played ‘in the tradition’ or given a fresh, funky makeover. Was this why you gave Body and Soul a 5/4 Latin adaptation?
Who cares! I guess you could ask each composer what they thought, and then it still wouldn’t matter because people will continue to relate to the music as they wish. Once something is created it truly belongs to everyone. A friend of mine Victor Gould came up with that bass line for Body and Soul, we would play it instrumentally, and I just loved the feel…then when Dave Love from Head’s Up [records] suggested translating the lyrics to Spanish, the 5/4 feels felt SO natural with the rhythm of the Spanish phrases, so we kept it like that on the record.
Was it bizarre winning a Grammy for Best Newcomer when you’ve been releasing albums as a leader since you were 22?
It was an honour. It was an honour being nominated, and I hope that some of this spotlight also shines on some of the other wonderful music that is being produced.
What do you attribute your success to?
Hard work and some luck.
Given our tabloid obsessed Twitter age, do you have any fears and expectations about being in the ‘mainstream celebrity’ spotlight?
Ask me in 6 months time….
At 27, you’re a youngster in jazz circles. Have you found your voice yet?
I am 26 actually, and yes it is very young in the music. Even when we’re emulating other people’s music, our voice comes through. I’m no exception, and look forward to the decades ahead in which I can distill and refine my musical expression.
What can audiences at the Cape Town International Jazz Festival expect from your performance?
Well, I hope they enjoy my take on modern chamber music. For this show, I’m joined on stage with a string trio, backing vocals, drums and piano.
Are you hoping to sit in with one of your heroes, Wayne Shorter?
Yes.
What’s next on your musical radar?
After this tour, I’m straight back into the studio to start working on the next album.
Esperanza Spalding’s Chamber Music Society performs on the reserved seating only Rosies stage at 5.30pm on Saturday March 26.
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