Saxophonist and composer Jure Pukl is no stranger to The Jazz Gallery, and has been a guest on this blog many times. As we spoke this week, our conversation began to focus on the concept of risk. Many young musicians aspire to take musical risks, and teachers often encourage it, but rarely is the concept dissected and explored. Over the course of our conversation, Pukl laid out his thoughts and ideas on the subject of risks on stage and in the studio. One of those risks is revisiting Pukl’s older material with a new attitude. In Pukl’s words, “Whether it’s making something new or changing something old, it’s the same thing we’re pushing for: To take something that’s been done already, and do it in a different way.”
Pukl’s upcoming show is titled “Abstract Sound Pictures” and will be a kind of re-exploration of material from two previous albums, Abstract Society and Life Sound Pictures. Jure Pukl will play tenor saxophone, soprano saxophone, flute, and bass clarinet, alongside Joel Ross on vibes, Charles Altura on guitar, Matt Brewer on bass, and Damión Reid on drums. We discussed the choice of revisiting his older material, his band’s sound, and (of course) taking risks.
The Jazz Gallery: I hear you’ve basically been on tour through the winter and spring. Is it shaping up to be a long summer for you as well?
Jure Pukl: It’s always something, but things aren’t too crazy right now. I’m working on bass clarinet and flute, and I’m playing alto in Melissa Aldana’s Sextet for her commission at The Jazz Gallery.
TJG: You’ll be playing bass clarinet and flute on your upcoming show too, right?
JP: That’s my plan. I mean, with bass clarinet, it’s always technical problems, something is always broken, or you don’t feel good about your sound, and then it’s like “Okay, maybe not today” [laughs]. I’ll definitely be bringing them, plus soprano and tenor.
TJG: It’ll be great to hear you on these other instruments—I think of you primarily as a tenor player.
JP: I actually started with clarinet. I’m not a huge fan of Bb clarinet, but with bass clarinet, I’m a big fan of the sound and textures you can get out of that horn. I’ve been playing on and off for years but never felt great about it, so recently have really been working at it. I love so many bass clarinet players, obviously Eric Dolphy, and Henry Threadgill on flute, which I’ve been working on as well.
TJG: Tell me a bit about the upcoming show.
JP: I’m calling this show Abstract Sound Pictures. The music we’re going to perform is going to be a fusion of my music, between the Life Sound Pictures and Abstract Society albums. I’m recomposing and arranging the older tunes and slicing them into smaller sections, throwing out sections, adding new parts, making changes. It will be those two records combined, with additions of music I’ve been writing lately. It’s all my music, different periods of my life mixed up together. I’m arriving at a point where I can play my older tunes with a different attitude. I use different improvising tools.
You can change something a little rhythmically, and becomes a new tune. I see this a lot with Wayne Shorter. I love Wayne Shorter. If anybody, I would want to be Wayne Shorter [laughs]. With his quartet, they play some of his older music, but the way they approach it and play is so fresh and new. Composing always has different stages, but a strong composition can always be played and revisited. When I write, I rarely think “This is a trio tune” or “This is for quintet” or “This is for a certain person.” I try to just write, and leave space for musicians to add their own thing.