A look inside The Jazz Gallery

Posts by Noah Fishman

Clockwise from top left: Mark Turner, Joe Martin, Kevin Hays, & Nasheet Waits. Photo courtesy of the artist.

Bassist, composer, and bandleader Joe Martin has been a fixture of the New York jazz community for over two decades, whether collaborating with the likes of Chris Potter, Gilad Hekselman, Anat Cohen, and Kurt Rosenwinkel, or leading his own ensemble of Mark Turner, Kevin Hays, and Nasheet Waits. Martin’s third and newest release is Étoilée. According to the liner notes, “Martin, himself a product of a musical upbringing, lives with his Parisian-born wife in Brooklyn where they have been raising their young Franco-American family of two sons and a young girl, whose middle name Étoile inspired the name of the recording… Joe Martin takes the powerful spirit instilled by his nuclear family to fuel the passion of four longstanding musical peers on his emotionally enriching release, Étoilée.” We spoke about family, distractions, and keeping things fresh in the studio.

The Jazz Gallery: Congratulations on the release of the new record! In your liner notes, I love that you cite your family as an inspiration and motivation for the record. Many musicians have families, but usually discuss their families in the context of being one of their many responsibilities, and not necessarily as a creative sources of inspiration. 

Joe Martin: Yeah. Of course, it’s a deeply personal thing, and is more the result of observation and reflection about where I was when I was writing this music. I’ve been entrenched in family life for quite a number of years. It’s not that having children changes who you are, exactly, but it certainly adds another layer to life, takes you out of your head. Especially as a musical artist, you’re always thinking about yourself and your music. It’s a beautiful thing, and has certainly lead many great musicians to creating great music, but when you have family, you’re aware that you’re responsible for other people, and their energy affects you. It brings awareness and acceptance. So, to say that my family directly inspired every song on the record wouldn’t be completely accurate. But in looking for titles and thinking about what’s been happening in my life, family is definitely a big part of who I am these days, and I wanted to acknowledge that with the album.

TJG: So when you’re listening back to the record, even though it’s not necessarily a programmatic record describing your family, when you listen back to certain things, do you hear your life reflected in your music in that way?

JM: I don’t know if I would say it’s that direct. It was largely when I was searching for titles. For example, I came up with the title “Malida” from my wife and two sons’ names–I didn’t have a daughter at that time. There was a certain intensity and energy about that song that captured a bit of their spirit and energy. But when I listen to music, I’m just thinking about the music and the other musicians, the atmosphere that’s being created, and where we arrive in these different songs. That’s the most compelling thing for me.

There’s my writing of the music and what it means to me, but then you have the other three musicians on the record playing. They all have their own stuff going on in their lives, and however they come to the music, they’re not necessarily thinking about my family when they’re playing those songs [laughs]. Unless you’re doing a completely solo project, there’s always going to be this other energy in the music. That’s what I like. It’s the essence of getting together and playing with great musicians and having a band, seeing where you arrive in the music, how you get inside it. The spirit of my family’s energy is certainly a part of me, and is certainly an inspiration in coming up with themes for the record, but when I play music, I’m usually just thinking about the music.

TJG: I hear you, absolutely. I’m not suggesting there needs to be anything beyond that.

JM: Sure, sure. It’s a good question!


Photo courtesy of the artist.

At Kassa Overall’s most recent performance from his TIME CAPSULE residency, he ventured into unknown territory with pianist Kris Davis, bassist Stephan Crump, and an assortment of electronics and vocal processing gear. Stepping even further into the void, Kassa will be joined for his next performance by the inimitable Craig Taborn on piano, rhodes, and electronics. While Taborn and Overall share an affinity for exploring electronic sounds and styles, the two have no prior history of playing together. In Overall’s words, “I don’t know what’s gonna happen… I’m excited to take the journey” Read more below, starting with how Overall starts his day.

The Jazz Gallery: Thanks again for making time to chat about your ongoing residency. Do your days tend get started pretty early?

Kassa Overall: It depends. I try to sleep in as long as possible, and usually try to keep all my plans to the afternoon, keeping mornings open for my most strenuous mental work and my own creative endeavors. If I’ve done my morning routine and done something important to me, like working on new music, then whatever I have to do for the rest of the day, at least I got a little bit of the heavy lifting out of the way.

TJG: So what did you have on the creative table this morning?

KO: Well, that whole previous explanation is a theory [laughs]. Today, I actually woke up really early, and I went to the practice space and practiced drums at around 7:30 A.M., so the whole thing is a little different. I just finished my morning routine, and now I’m trying to finish one of these TIME CAPSULE joints. I’m taking these recordings and making original pieces out of them. There’s a part where Sullivan Fortner goes to the organ during our first duo set, and we play a kind of improvised ballad. I chopped it up, sped it up, and made a whole piece out of it. It’s almost really good, but it still has some rough edges in terms of the arrangement and direction. It has the ingredients of something special, but it’s not done yet. I have to make some decisions.

TJG: What form is it in right now? Lead sheet? Demo?

KO: I’m making a recorded piece of art in Ableton. It’s not so much a demo, but a piece of recorded work, a new sound recording, which I’ll probably release as an official song, then find a way to play it live.

TJG: Speaking of live, how was your Blue Note show with Paul Wilson and BIGYUKI?

KO: You know? It was another step in the right direction. That was my first attempt at playing the album material live in a “correct” way. It’s a lot harder than other performances because you’re trying to recreate something that lives on the album. It’s always an internal debate as to how similar it should be to the album, and how creative we should get. This time, we went extreme with recreating the album. I automated vocal delay stuff, we had all sorts of stuff being triggered from laptops. In order for that performance to work, it had to ping pong between precision and open creativity. The Blue Note show lacked some of that open creativity. From playing these TIME CAPSULE shows at The Jazz Gallery, I’ve tapped into a new kind of spontaneous composition, and have to rely on a new type of performance approach. For the live album set, it still has to have that oceanic-waves-crashing-spontaneity, and then fall into something precise. We’re working on it.


Album art courtesy of the artist.

The Jazz Gallery welcomes saxophonist and composer Godwin Louis in celebration of his debut double-album, Global (Blue Room Music). As a saxophonist, Louis reaches startling depths through his intricately-woven lines and phrases, and his compositions are emotionally charged yet always danceable. Louis attended the Berklee College of Music and went on to study at the Thelonious Monk Institute of Jazz, and has played and toured with Herbie Hancock, Clark Terry, Ron Carter, Madonna, Mulatu Astatke, Wynton Marsalis, and more.

Louis has lived in Haiti, Harlem, Connecticut, and New Orleans, and through Global, Louis explores all of these places and beyond, to the music and culture of people from West and Central Africa, Brazil, and islands in the Pacific and Caribbean. Global is about looking at the sounds of the African diaspora, beyond the slave trade ands its horrors, to its influences on pop culture. Discussing the new album, Louis notes that “Global focuses on and explores the history of music in the American continent. It traces the roots via West Africa, and its journey through the four hubs of music in the Americas: Congo Square/New Orleans, Santiago de Cuba, L’Artibonite/Haiti, and Bahia/Brazil.”

For Louis, everything was on the table, and no tradition, people, or way of music-making was left unconsidered. “This is about my traveling experiences all over the world. I’ve been to 100 countries as of now. I have so many stories, some sad, some triumphant. So did our ancestors. Global is the history of music and culture in the Americas. Cultures that came from Africa, met with indigenous aestheticism, and were refined or rarefied via colonialism, as a result changing the course of music history and culture worldwide.”

At the upcoming show, Louis will present music from the new album with his band featuring Etienne Charles on trumpet, Aaron Goldberg on piano, Joel Ross on vibraphone, Jonathan Michel on bass, and Charles Haynes on drums. (more…)

From L to R: David Frazier Jr., Keith Witty, and Christophe Panzani. Photo courtesy of the artist.

THIEFS is an ongoing and evolving brainchild of bassist Keith Witty and saxophonist Christophe Panzani, with drummer David Frazier Jr. as well as a rotating cast of additional improvisers and vocalists. The electro-acoustic ensemble transcends idiom and merges musical approaches in startling ways, as on their latest record, GRAFT. This performance at The Jazz Gallery will be THIEFS’ only New York City performance in 2019. Over the course of the evening, the trio of Witty, Panzani, and Frazier plan to take old and new compositions and blast them wide open.

In prior interviews with WBGO and Bandcamp Daily, Witty spoke thoroughly about the specific inspirations and processes behind the music. In our recent phone call, we took a different angle, and spoke about the challenges of having a transatlantic band, preparing new music on a tight schedule, and the creative growth of a logistically complex project.

Keith Witty: The fundamental challenge of our group is finding a way to exist, survive, and create. Getting gigs is one thing, but booking gigs that get us onto the same continent is more tricky. A gig at a small club in Boston might be wonderful, but it’s not going to get Christophe over the ocean. Same for a small club in Paris, or any city really. We have to bring everything we have to the table to try to figure out how to play. That’s detrimental in many ways, but it’s a benefit in that it makes us focus on what we want to do. We don’t have time to be frivolous. That has helped us hone our ideas and put an extra layer of thought into our conceptual movement as well. It has driven discussions about what we are trying to do, how we might hone it, how we can make it happen, and how we might change and grow. A lot of times, we’re sending each other things transatlantically, and for the gig in New York, we’ve set aside a rehearsal day for new material, which is a challenge, because we have a lot of current material to brush up on as well. We always have to find a way to make it work.

TJG: Having new material seems vital in a band like yours. In the WBGO interview, you discussed how you view jazz as music that’s alive, of the present, authentic to the group. Having new music must feel critical, even though it’s hard to get it together when you’re not living together.

KW: It does. I produce a lot of records these days, and there’s something vital and beautiful about the process of bringing compositions to their live iteration glory, to full fruition. In so many cases these days, people are recording and sculpting music in the studio that they haven’t pressed on the stage, pushed around, tugged and pulled at for months before it takes shape. In some ways, even though our last record came out over a year ago, we’re still figuring out how we best want to play some of the music. We’re stretching some of it out, so we’re figuring out what the improvisational approach is. There’s a lot of creativity, newness, freshness to that. We’ve added maybe three compositions to the repertoire since then that will make their way onto the next record. We’re trying to make sure that when we get together, there’s some opportunity to play through something new, even if it’s a sketch, just to keep the creative wheels turning.

TJG: When and where were your most recent shows?

KW: Our last shows were in Europe. We played a festival in Switzerland, NoVa JaZz. It was a small festival in a small town, but had such a great lineup. Ambrose Akinmusire, Shai Maestro, BIGYUKI, it was wonderful to be in the company of such artists who I feel approach music in a similar way, completely void of traditional parameters. There may be loose guidelines of what jazz might mean to each person, but everyone who the festival programmed, it felt like to me, was making the exact music they wanted to make, straight out of their heads and their hearts. It’s nice when programmers get what you’re trying to do, and put you with people who don’t necessarily sound like you, but are approaching music-making from a similar standpoint.

On that run we also did a masterclass and concert in Grenoble, France. That was the first concert we’ve done as a trio, as we’re going to do at the Gallery, no vocals, just instrumental explorations of the material. The room was packed with students. It felt great.


Photo courtesy of the artist.

At the last installation of the TIME CAPSULE residency, Kassa Overall and Sullivan Fortner traveled to outer space. With Fortner on B3 organ, Rhodes, and piano, the two musicians charter a path to a completely improvised world of sparkling rhythms and melodies. In Overall’s words, “After the first set, I felt like we had just finished getting a spa treatment.”

In our fifth interview, Overall told us about a few more of his current projects, how they feed into and result from the ongoing TIME CAPSULE residency, and the upcoming show with Kris Davis and Stephan Crump.

The Jazz Gallery: You mentioned that you’re in the middle of doing some remixes?

Kassa Overall: Man, it’s exciting. I’ve had some recent opportunities to give guest DJ mixes to different radio stations. The first one was for KMHD, the main jazz radio station in Portland, and the one I’m working on now is for BBC 6, which has Gilles Peterson, new music, jazz, quasi-jazz vibes, everything. KMHD hit me up about doing an interview to promote a show in Portland, and they said I could also do a guest DJ mix. So I started taking recordings by some of my favorite jazz friends, chopping up their songs, and adding a little production to the tracks. I took a Jon Batiste song from his piano and voice album, chopped it up, and added drums. I did it to a Vijay Iyer song, a Charles Tolliver song, an Esperanza song. It was like, “If this were my album, this is what I would have done.” You know?

TJG: Like you were being a producer, in a way?

KO: Yeah. It’s remixing, but a little more creative. Somewhere between sampling and remixing. When we make something, we often think about defining it first, then making it from that context. If you say “I’m gonna make a remix,” and you start making a remix, you assume all these positions, you assume what it is to remix something. You might limit how much you add original content. When sampling songs, people often just sample four to eight seconds. When you think about it, you realize these definitions break up the creative process. So when I started to really dig in, I got excited. I was having a bit of writer’s block, and wasn’t really getting excited about anything creative. Then I started working on these remixes, and I got that excited feeling. I worked for three days, and at the end of it, I knew I had something good. KMHD played it on the radio and loved it. Now I’m working on a thirty-minute version for BBC 6. I’m currently chopping up one of my favorite songs from Makaya McCraven’s new album Universal Beings.

TJG: This isn’t so different from what you’re doing with TIME CAPSULE.

KO: Exactly. It’s all related experimentation with the idea of finished-work-as-source-material. It’s a big circle. This song, I realized, has the same chord changes as the Nas and Lauryn Hill song “If I Ruled The World” from 1996. Once I figured that out, boom, I started chopping that up, and now I’m in this big rabbit hole.

TJG: You think this is connecting some neurons around what you’re about to do with the residency?

KO: Yeah. Honestly, it’s all the same kind of experimentation. In every project, you lean more heavily on one aspect or another. But they say there’s nothing new under the sun. The key is letting go of that mental inhibitor that says “Nah, I can’t do that,” or “That’s too sacred.” From time to time I think about the Campbell’s Soup Cans that Andy Warhol did. I’m sure it was the early version of trolling, in a sense, but half the people were like, “Oh my god, amazing, it’s Campbell’s Soup!” And then the other half were like “I can’t believe you like this guy.” Anyone could have that thought, but to take the time to do it in its best possible way. It takes a certain amount of courage.