Interview with Sarah Hughes 

Source: Jazz Right Now.

I recently had the opportunity to talk with saxophonist Sarah Hughes. Having released her second record as a leader, The Drag, in late 2019, she continues to experiment and explore new areas of her sound. This interview focuses on her creative process, her approach to experimentation, and where Ms. Hughes intends to go next.

Rob Mazurek Interviewed About New Album

Source: The New York Times.

In his Marfa, Texas, home, Rob Mazurek keeps a synthesizer hooked up to a maze of wires, which he uses to create morning drones “to get good energy in the house.” On a sunny afternoon in early November, with positive vibes still hanging in the air, the composer and cornetist sat at a black piano and talked about a Sun Ra gig in 1981, at the Chicago Jazz Festival, that did something similar: shifted his perspective.

Tim Berne Interview

Source: burning ambulance.

I first heard Tim Berne on a John Zorn album – Spy Vs. Spy, from 1989, where the two of them, plus Mark Dresser on bass and Joey Baron and Michael Vatcher on drums, play 17 Ornette Coleman tunes in 40 minutes. It’s one of the most intense records you’ll ever hear in your life. They play almost all the tunes at hardcore punk speed, and the two drummers are delivering blast beats like they’re auditioning for Napalm Death or something. Some people love it, and some people fucking hate it. I’m in the former group. Berne’s own music doesn’t always have that same punk rock aggression, but it’s definitely intense and can get very loud.

Aquiles Navarro Interview

Source: Jazz Right Now.

Watching Aquiles Navarro establish himself on the New York music scene over the past six years has been fascinating. He’s a singular voice on trumpet and has been a transformative presence in every ensemble of which he is a part. His most well-known projects are a duo with Brooklyn-born drummer Tcheser Holmes and the collaborative quintet Irreversible Entanglements with Moor Mother, Keir Neuringer, and Luke Stewart, in addition to Holmes. I had the opportunity to speak with him in September to talk about his duo record, Heritage of the Invisible II, just released on October 23.

Kris Davis Interview

Source: I Care If You Listen.

Pianist and composer Kris Davis is the Associate Program Director of Creative Development for the Institute of Jazz and Gender Justice at Berklee College of Music, where in addition to teaching she develops programs that do corrective work, modifying the way jazz is perceived and presented and rendering equal visibility for future contributors.

Trey Spruance Interviewed about Mr. Bungle’s New Recording of Old Music

Source: Revolver.

Spruance and his bandmates Trevor Dunn and Mike Patton (the latter of whom appears on one of the collectible covers of Revolver’s Fall 2020 Issue) recently re-recorded their 1986 demo The Raging Wrath of the Easter Bunny with Big 4 assistance from Anthrax guitarist Scott Ian and former Slayer drummer Dave Lombardo. Ahead of the album’s October 30th release and the group’s Halloween livestream concert, Spruance shared some details and took us back to Bungle’s high school origins.

Sarah Davachi Interviewed 

Source: BOMB Magazine.

“Move the body to fold and then fill.” This line, softly sung by composer Sarah Davachi on her first-ever lyrical track, feels both like an ode to minimalist technique and a truth in how to graze sound fields at large. For me, it was an instruction in how to listen to her eighth solo LP, Cantus, Descant, without a roof over my head. When I first heard it I was camping with a friend through the Olympic Peninsula with nothing but fog and my body as an empty hall to flood with the harmonic movements between cantus and descant—Latin for “the solo or highest voice in a choral” and “the emergence of polyphonic textures”; or “individual within the community,” as Sarah says.

Wendy Eisenberg Interview

Source: 15 questions.

I started writing songs when I was around 12 years old and had been playing guitar for around a year. I was really interested in jazz and jazz harmony and the American songbook at the time, and I still am. Even the earliest songs I wrote had the formal conventions of the songbook in their DNA, which feels lucky.

I started producing music when I was 23 or so with a four track tape recorder when I was living in Boston. For a few years, when I was in jazz school, I forgot that writing songs was a legitimate art form, forgetting that jazz is song-music as much as it is not. I am grateful for my time in Massachusetts that reminded me that songs are holy.

What drew me to music and sound was their capacity for the immediate transmissions of emotions. Words can do it too, and so can art, but something about the presence of a musician, the filling up of the room – it’s such grace.