As a multi-instrumentalist, Morgan Guerin has a uniquely-large sound palette. While he primarily performs on the saxophone, you can find also him playing at a professional level on several instruments, from bass with Terri Lyne Carrington’s Social Science to synthesizers with Esperanza Spalding. In some cases, as on his three self-released The Saga albums, he’ll perform multiple instruments on any given song.
Through his 2020-2021 Jazz Gallery Residency Commission, Sanctuary, Guerin focuses on another part of his artistry: his skills as a composer. In the piece, Guerin hopes to bridge any perceived gap between genres by conducting and adding his Electronic Wind Instrument (EWI) and saxophone to a large ensemble featuring a mix of jazz and classical performers. In our conversation with Guerin, he reflected on how his instrumental skills impact his compositional process and how his music has evolved from project to project.
The Jazz Gallery: What is the concept behind Sanctuary?
Morgan Guerin: It is based on my longstanding desire to present long-form melodies and themes in their own time, as they come. Last year, I did a commission for Roulette called Wishes, which was inspired by Wayne Shorter. It featured an eight-person ensemble with two violas, cello, flute, bassoon, piano, bass, drums, and myself on saxophone and EWI. That project was fascinating to me and Sanctuary expands upon some of its ideas and instrumentation.
TJG: How is Sanctuary different from the work you did on Wishes?
MG: Sanctuary will be about twice as long as Wishes. It also involves more musicians. Both of those differences allow the group to open up a little more. Sanctuary also features new personnel for the most part. Of course, new artists will bring in new approaches and sounds.
TJG: Wayne Shorter is an obvious influence on your music. Was the choice in the title of this commission at all inspired by his famous composition of the same name on Miles Davis’ Bitches Brew?
MG: No. I have always been fascinated by what Wayne Shorter has contributed to music, particularly his use of chamber instrumentation, but this piece wasn’t directly named after that song. I named it Sanctuary because it is effectively my invitation to listeners to enter into my sacred space. This commission is very personal and unlike anything I’ve released before. On many of my other projects, I play several instruments and the focus is on my skills on those instruments. But, here, the focus is primarily on my abilities as a composer rather than my own performance.
TJG: How do you feel being a multi-instrumentalist has shaped your compositional process compared to someone who focuses primarily on only one or a few instruments?
MG: To be honest, I am not sure whether being a multi-instrumentalist is an advantage or disadvantage in terms of composing. It certainly gives me more insight into what things are possible on a given instrument. During the writing process itself, that background also helps me figure things out on various instruments. I will have instruments in the same room while I have the scores pulled up and just imagine what things people could be playing or how they may be approaching a particular part. To be honest, most of my writing I do on a MIDI controller and Sibelius but it is still good to have that perspective at times.