This weekend, the collaborative Borderlands Trio celebrates the release of their debut record, Asteroidea (Intakt), with four sets at The Jazz Gallery. The group features three standout improvisers—bassist Stephan Crump, pianist Kris Davis, and drummer Eric McPherson—exploring the full expressive ranges of their instruments through spontaneous composition. We caught up with Mr. Crump by phone and spoke about the group’s origins, the recording process, and how their music morphs from gig to gig; excerpts of our conversation are below.
The Jazz Gallery: How did this trio form?
Stephan Crump: Kris and I got together at first as a duo just a couple of times to try playing together and see what happened. I want to say that was three years ago. It was immediately thrilling to play together, and very interesting, and we looked into doing some duo gigs. While that was underway, the stuff we were looking for didn’t quite pan out, but meanwhile, we got together in my studio with some other people here and there and just kept playing. Eric McPherson and I have been playing for quite a number of years, in Rez Abbasi’s Acoustic Quartet, and Eric has also done some gigs with my Rhombal quartet, and we’ve also just gotten together with different people, to play in my studio. He and I have always had a really powerful connection. He’s one of my favorite drummers.There’s a really strong rhythmic concept and focus to how Kris approaches music and how Eric approaches it, not necessarily in the same way, but I feel in both of them a strong rhythmic pull. I thought it would be worth investigating for the three of us to play together. The first time we did that was at Korzo, the Konceptions series, a couple of years ago. We just did a few gigs before recording. It was just a year ago that we did a weekend at The Jazz Gallery, like we’re about to do. We did a Friday and Saturday night, and then Sunday morning we went in to record the album. It was a good plan, cause things were popping.
SC: We all three of us really love what we captured on the album. Every performance takes us to different places in various ways, but a lot of aspects of the group are well-represented on the album, as far as the way we all share, like I said, an absolute dedication to the groove, always leaving the door cracked for it to develop and keep morphing, but maintaining a tightness and a cohesion. There’s also a trust where different members of the band can be orbiting that same groove from different perspectives, and we don’t have to follow each other in a linear fashion all the time to feel like we’re connecting. There’s a trust in each other, if we each stick to our own orbit, as long as it’s related powerfully it’ll wind up in some interesting places and it’ll keep growing.
I think we all share an orchestral sense, a sense of structure, as far as each member has a broad conception of the range of possibilities on his or her instrument, and the various colors and textures and overtones, and thinking about what one can offer to the music that orchestrates it properly at any given moment based on what the others are offering. That might take each of us into areas that aren’t necessarily traditional areas on the instrument, but everybody in the band percieves the music on that level as well. I think of it as orchestration. So that’s really satisfying, because on a simple level it means that everybody’s always making things work. Whatever anybody offers to the music, the rest of the band will contextualize it instantly so it works, even as things are always morphing.
SC: We compose music together, in the moment. We don’t write things down later so far; it’s what we most often call improvisation, but I like to think of it as spontaneous composition, because I think that is a way of framing it that speaks to the fact that we perceive it that way. We are composing and thinking about all the aforementioned aspects of structure and development.