Photo courtesy of the artist.
Chris Tordini holds the bass chair in so many bands that the list is a bit dizzying: Andy Milne, Steve Lehman, Becca Stevens, Tyshawn Sorey, Michael Dessen, Matt Mitchell, John Hollenbeck… not to mention that he subs for the Tony-winning Broadway musical Hadestown. It’s a rare moment when such a busy sideman steps into a leadership role. He’ll be arriving at The Jazz Gallery with a new collection of music which, in his words, “runs the gamut from rhythmic angularity to avuncular lyricism.” The new band features Anna Webber (tenor saxophone & flute), Red Wierenga (piano & accordion), and Dan Weiss (drums), each of whom has collaborated with Tordini, but never in this exact configuration. In a phone conversation, Tordini took us inside his process, from practice to performance.
The Jazz Gallery: How’s it going? Making it through the winter?
Chris Tordini: Things are pretty good. It’s that’s time of when we’re all trying to get through the cold. I’m at home now, was just practicing a little bit.
TJG: Do you mind if I ask what you’re practicing and how you’re practicing it?
CT: Sure. This is totally random, but I was just practicing a bass and trombone soli from “Tiptoe” by Thad Jones. I was looking for something to practice reading. I don’t do this often, you just happened to catch me when I was looking for something new to read. Before that, I was doing an exercise that I do a lot, putting the metronome on super slow–anywhere between 20 and 35 beats per minute–and playing quarter notes, eighth notes, triplets, subdivisions like that. This slow-quarter-note-thing is something you’d find me doing on any given day when I have the time to practice.
TJG: Was there a reason you wanted to brush up on your reading chops?
CT: Lately, I’ve been trying to get out of my head, as far as reading new music. I’ve been doing exercises where I read music and try to hear it while I’m reading it, as opposed to mechanically, robotically reading notes. I’m trying to engage my ear more in the sight-reading process, which is difficult for me. Left to my own devices while reading music, I can be quite mechanical. I do consider myself a good reader, in the utility kind of way, so I’ve been trying to actively engage my ear in my practice lately, to make up for that.
TJG: Tell me about each of the musicians you picked for this upcoming show–Anna Webber, Red Wierenga, Dan Weiss–and how you met each of them.
CT: I’ll start with Dan, because I’ve played with him the most. Dan is a good friend of mine, and is one of my favorite drummers on the planet. I met him over ten years ago, when we started playing in a trio with Michael Dessen, a trombone player based in California. We clicked early on. Dan intimidated me at first because I had heard him a lot with other groups. We immediately clicked musically and personally, and we’ve been playing in a lot of projects together. We played with Matt Mitchell together, we’ve played in many different groups. He’s an inspiring guy, dedicated to music, to the craft of jazz drumming, to tabla.
Red Wierenga is an amazing piano player and accordion player. Most of the playing I’ve done with him has been in The Claudia Quintet, John Hollenbeck’s band, where I often sub for Drew Gress. I’ve loved playing with Red and hanging out with him. I’ve heard him play piano on recordings and have seen him live, but the playing we’ve done has almost exclusively featured him on accordion. As I’ve been playing through my new music, I knew I needed piano. Then I started hearing the possibility of accordion on a few things, and immediately thought of Red, because he’s such a great player on both instruments.
I’ve known Anna Weber for quite a while. We’ve known each other from the scene, I’ve seen her bands play, I’m always a fan of her music. A couple of years ago, she asked me to play on a record of hers, Clockwise, which came out last year. I was super happy to do that because I was already a fan of her music and playing. It was a pleasure working on her amazing, often difficult and complex music. We got to know each other a lot better through that process. She’s a friend of mine, she’s one of my favorite saxophone players. Anna is a great flute player as well, so I’m trying to figure out having her double in the same way as Red on piano and accordion.