Peter SchÀrli
Website
December 2002

"I think that European musicians develop more interesting musical concepts and compositions, also that the European Jazz is played with more emphasis on feeling. We are fortunate enough to be sponsored by cultural institutions so that we can partially afford to develop our personal ideas and projects."

Guilty
Enja
2001

By Vittorio Lo Conte (courtesy of AAJ:Italy)

The Swiss trumpet player has recorded his third CD for Enja. He has developed his music and compositions over the years with the trombonist Glenn Ferris and the French horn player Tom Varner. His group have a special brass sound of there own. Peter does not use reed players.

All About Jazz: You have recorded three CDs for Enja. I would like to start by talking about the first one. How did you come to put the group together and where did you come from musically?

Peter SchÀrli: Already at age 5 I was a big fan of Louis Armstrong and Nino Rossi. I knew then, that one day I would follow these idols I started listening to Jazz after I heard Louis Armstrong at age 5 at my parents house. By age 10 my attention was focused on New Orleans Jazz, Chicago Jazz and Big Band Jazz. I started playing the trumpet at 10. Around age 12 I listened to George Gershwin's Porgy and Bess (Gil Evans/Miles Davis).

This recording is one of my all-time favorites. I didn't care much for Rock or popular-music. I went to hear live-concerts in Willisau around 1968. There I heard a lot of Jazz and improvised music. Willisau is (was) one of the most important New Jazz Festivals in Europe, near my hometown. The concert series and Festivals started around 1965. These concerts also had a major impact on me. I worked my way through my study at the Swiss Jazz School in Bern to support my family, doing jobs as a worker in a window factory, in a machine factories and in the forestry industry, entertainment music and (later) teaching at the "Musikhochschule Luzern" (former Jazz Schule Luzern). I have been teaching there since it's been founded, 20 years ago.

In 1982, I founded the first band of my own with Thomas DÌrst (b) and Marco KÀppeli (dr), the Peter SchÀrli Trio. Two years later I expanded the trio with Giancarlo Nicolai (g) and Hans Koch (ts/ss). With this quintet I published my first recording (Schnipp Schnapp hat ART 2037, 2 LP's). 1986 Roland Philipp replaced Hans Koch.

In 1987 this quintet had, among others, an appearance at the Montreux Jazz Festival. In the same year I brought my favorite trombonist, Glenn Ferris, into the band. He had already played with me in Urs Blöchlinger's LEGFEK Orchestra (1981) and in the Christy Doran – Peter SchÀrli Project“ (Jazz Festival Willisau, 1984). The Peter SchÀrli Quintet with Glenn Ferris (Thomas DÃŒrst b, Marco KÀppeli dr, Giancarlo Nicolai g, Roland Philipp ts/ss, Glenn Ferris tb, Peter SchÀrli tp/flh) has since then developed into a formation with international flair, which has been enthusiastically received by audiences during tours in Europe, India (Yatra Festival 1990) and in the former USSR (CD's Three Souls MIWI 1014 and Tomorrow, Enja-7035-2).

Tomorrow was my first Enja recording. In order to realize my changing sound concepts I reorganized my sextet in 1994. With my new formation of the Peter SchÀrli Special Sextet featuring Glenn Ferris and Tom Varner (Béatrice Graf drums, Thomas DÌrst bass, Hans Feigenwinter piano, Glenn Ferris trombone, Tom Varner French horn, Peter SchÀrli trumpet, CD Blues for the Beast Enja 9103-2), we celebrated great successes at the 20th Jazz Festival Willisau 1994, and on the tours which followed in 1995, 1997 and 1998.

In February 2001 our new CD Guilty has come out also on the Enja label.

AAJ: Tom Varner has recorded many times with an alto saxophonists, Ed Jackson. Is there a reason why you don't use reed players in your band?

PS: Your question is not easy to answer. I did play before with great saxophone-players, Hans Koch and later with Roland Philipp. Then, I always played with rhythm-section, trombone, saxophone and trumpet. Glenn Ferris couldn't come for the 1990 tour in ex UdSSR. At this time I had another band named Peter SchÀrli Special Choice with Urs Blöchlinger (sax), Olivier Magnenat (b), Olivier Clerc (dr) and Tom Varner (French horn). Tom Varner got Glenn's job for this great tour.

After that I realized that a real brass-sound was closer to my sound-concept. I also had never heard a band with this formation then. Knowing Glenn Ferris and Tom Varner I was sure that we could create an exceptionally strong horn-section. Since then I have my own excellent band.

AAJ: Do the musicians in your band get close to the original ideas and concepts of your compositions? Which of your own compositions do you like the most?

PS: The musicians in my band are so wonderful that my compositions sound even better than I could have imagined when I composed them. It is always surprising to feel how seriously, carefully and creatively my musicians treat the written material, this does not apply only to my things, also Hans Feigenwinter und Tom Varner contribute their own compositions in my Special Sextet. Yes, I think that this set of musicians is very close to my sound concept. I can say that I love all my compositions. Sometimes may I take one of the older ones and may change it somewhat if I get new ideas.

For example on the new CD Guilty we recorded a composition which first appeared in 1984 ("Dark Nights"). I enjoy working at length with the same music and in fact have fun at playing the same compositions over and over. There are numerous ways of interpreting a melody.

Maybe a few compositions stand out as my favorites: "Waiting" (on the CD Tomorrow,), the "Miniatures I, II, III und IV" (on the CD Blues for the Beast,), "Requiem fÃŒr die Unschuld" (on the CD Guilty) or also "Ballade pour une pierre" (on the CD Don't Change your Hair for me Ballads and Brazil featuring Dom Um Romao and Willy Kotoun).

AAJ: You have developed your own group sound, which includes the use of standards. Do you think that standards are still a source of creativity for improvisers?

PS: Yes, standards are very important for my kind of music and I love to play them. I also play in bands in which "only" standards are the favorite thing. I believe that the interesting new creations can only take place if one understand the past. Jazz is a product of traditional African and Eeuropean music, born and developed in USA. I try to express and explore this aspect in my work.

AAJ: Which trumpet players do you like the most? Do you listen to trumpet players from the U.S.A.?

PS: There are so many trumpet-players whom I like to listen to again and again: Armstrong, Beiderbecke, Eldridge, Gillespie, Dorham, Davis, Harden, Bailey, Adderley, Terry, Jones, Little, Tolliver, Farmer, Walrath, Harell, and before all Chet Baker. On top of these Wheeler, Stanko, Michel, Rava, Fresu, Goykovich, Hannibal, Bowie, Feza, and before all Don Cherry. Quintessentially: Chet Baker and Don Cherry. But in the end it is not the individual musician, but the concept of a sound, compositions and ideas that impress me the most.

AAJ: Your music is rooted in Europe, yet some of the musicians in your group come from the U.S.A. Are there any differences in approach that you have noticed, between musicians from these two continents?

PS: As I said before: Jazz has its roots also in the European music. Without the European instruments and harmony could Jazz not exist. The European input is almost as important as the African one. So to answer your question: there is a natural comprehension between the US musicians and us. However there are some differences. I think that European musicians develop more interesting musical concepts and compositions, also that the European Jazz is played with more emphasis on feeling. We are fortunate enough to be sponsored by cultural institutions so that we can partially afford to develop our personal ideas and projects.

In Europe we still have the luxury to dream. The artists I know in the USA must spend more energy to earn a living. I think thats why they have overall a better technique and stand out as more interesting individuals. The Eeuropean musicians are less affirmative. This point of view may apply to my generation and I can imagine that the differences will be smaller with time.

I know that Glenn Ferris and Tom Varner love my ideas and my music. I have been playing for 20 years with Glenn and 15 years with Tom on a regular basis. We have all benefited from the experience. When I started playing it was rather exceptional to know American musicians who accept the European style of jazz.

AAJ: Have you a favorite Don Cherry`s work? I remember very well his Complete Communion on the Blue Note label.

PS: Complete Communion was among the first LP's I bought around 1975 and I listened to it a lot. It is so used that I just bought the CD, now that you reminded me of it. The musicians on it are wonderful, the music is played so freely and musically. This is really music. And on top of it, Ed Blackwell is my favorite drummer.

I remember hearing Don Cherry/Ed Blackwell (in Duo) in Willisau years ago, it was just fantastic.

AAJ: Amongst the list of trumpeters that you have listened closely too, are Hannibal, who I believe does not play much any more and Charles Tolliver who does not play at all.

PS: It is true, Hannibal does not play much anymore. He was in Switzerland a few weeks ago. I don't know why he plays so little. I like his sound and the power of it. His trumpet sounds the way it should.

I once saw Tolliver in a trio. I was impressed... But I knew him before from the LP Members, Don't Git Weary of Max Roach. I love that record.

Hannibal is still in great shape and takes care of himself.

AAJ: Chet Baker is much loved by many trumpet players. I would like to ask you if living the life of a jazz musician is sometimes hard, and are these hardships.

PS: necessary when it comes to expressing feelings.

PS: I met Chet Baker in person three times. He was not only a great musician, he was a wonderful quiet, patient person. He would show up late a lot having so much else to organize... Yes, life is hard for jazz musicians. For me to play is still a good job with a lot of fun, it is between the gigs that things get tough.