Becca Stevens, an artist who at The Jazz Gallery needs no introduction, will be returning to the Gallery stage for the Commissions Revisited Series. Always pushing in some way against her own limitations and boundaries as a songwriter and musician, Stevens used the commissioning series to create Regina, a collection of music that eventually became her acclaimed album in 2017. Regina was the result of months of research, experimentation, and soul-searching, according to Stevens.
This weekend, Stevens will be revisiting the album at The Jazz Gallery with her band featuring herself on guitar, ukulele, charango, and voice, Michelle Willis on keyboards and voice, Jan Esbra on guitar, Chris Tordini on bass and voice, and Jordan Perlson on drums.
TJG: You just jumped straight over to Spain from Winter Jazz Fest to work on a project, correct?
Becca Stevens: That’s right, I’m in Spain doing a kind of writing retreat. Mike League and I are doing a record in about a week in New York with The Secret Trio, an amazing group of Turkish and Macedonian musicians. We’re getting the music together for that, writing it, pulling together arrangements.
TJG: How do you and Michael work together? What’s your process together for a situation like this?
BS: We’ve written together in a couple of different groups. With this one specifically, the songs started out with him sending me demos and ideas on oud and guitar. I would add melodies, harmonies, lyric ideas, things like that. Right now, I’m finishing that process. Once I get a song to a point where I think it’s pretty much finished, at least a draft, I’ll send it back to him. He adds more final touches, ways to bring in the trio. We’ll see how it goes! It’s a back-and-forth process. In the band we’re in with David Crosby, it’s more like we’re all writing together at the same time. All approaches work, this is just how we went about this one since we weren’t working in the same place.
TJG: Well, it’s a treat to be interviewing you, I’ve been a fan for years. The show at The Jazz Gallery is part of the Commissions Revisited Series, where you’ll be presenting music from Regina, correct?
BS: That’s right. The Gallery originally commissioned that music, so it’s the only place to do the reunion.
TJG: A lot of the album explores this childlike wonder, lost hope, dangers of love. Could you tell me about who Regina is, and how she sees the world?
BS: Regina began as a concept, the word ‘queen,’ and different things I could pull out of that word, everything and anything I associated with the word. Through the process of writing the record, Regina began to take on a life of her own. Maybe out of necessity, she became a writing partner, a voice in my own head that I would call upon for guidance, confidence, a clue from a muse. I found that assigning an entity to the muse behind the song helps with clarity. I get a stronger sense of whether I’m doing something that’s serving the song or serving myself, and when I’m writing, decisions that serve myself often don’t come across as poignantly or effectively.