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Ricky Sweum: String Theory

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The fog has lifted off of the coast of Seattle with the rise of Origin Records. As the fisherman of jazz today, they've cast their nets and pulled in a catch of fresh, raw and bold talent. Their latest catch: saxophonist Ricky Sweum.



Pulling Your Own Strings, which came out in mid-August 2009, has received some of the highest accolades from today's best musicians including Dave Liebman

Dave Liebman
Dave Liebman
b.1946
saxophone
who quotes Ricky as being a "burning tenor player with technique and ideas to spare...well worth checking out." Other musicians who praise his album include Walt Weiskopf
Walt Weiskopf
Walt Weiskopf
b.1960
saxophone
, Saxophonist Bill Evans
Bill Evans
Bill Evans
1929 - 1980
piano
, Bassist Rufus Reid
Rufus Reid
Rufus Reid
b.1944
bass, acoustic
, Pianist Marian McPartland
Marian McPartland
Marian McPartland
1918 - 2013
piano
, and James Moody
James Moody
James Moody
1925 - 2010
reeds
who said it was a, "pleasure for my ears."

But what catches the ears and places them in full attention is his sound. There's candy with each sound bite. His playful style is obviously related to many distant jazz family members.

The influence of Dexter Gordon
Dexter Gordon
Dexter Gordon
1923 - 1990
sax, tenor
and Michael Brecker
Michael Brecker
Michael Brecker
1949 - 2007
sax, tenor
can be heard, with a dash of Leibman on the side. His hipster caché can be attributed to many of those grandfathered influences. Yet the tone and rhythm of his attitude can only be granted from his inner core.



The day in and day out of the life...touring the country with a big band, being a father, running his own gig scene in a small-ish town has grossly changed his tune and his story. Breaking across the expected norm, he's pulled his own strings to contribute a unique weave to the cloth of modern jazz. Every tune is original, fresh and outstanding.

All About Jazz: Where were you or what was your school of thought when you were recording this album?

Ricky Sweum: I like the basic Buddhist principle, which I believe applies: We must always realize that we have choices instead of falling prey to whatever action that's happening. We should be aware of the different feelings that are arising within us and choose to act in a way, at all times, that is peaceful to others.

One of the themes in my life for a period of time was the idea that I had to be content and happy with what is. I had to not feel like something has to be different or that it could have been done better or that I had to go back and relive that moment and think about how it could have been better...I have to, instead, just own what is.

AAJ: Do you feel this way about the album? That it is what it is? That you own it?

RS: Yes I do. I didn't feel like this initially. Not at all. I spent the first few weeks after the recording feeling like I was going to have to put it in the trash and redo it. All of us felt really bad about it.

We had this excitement of going into the studio after we had been playing tons of gigs over the summer (of which I had digitally recorded every single one of them and listened to them) which gave us great confidence to go into the studio. We were used to creating these magical moments and then listening to them right away. It puffed us up, made us think that we deserved to be in the studio...but when we did the session we were all driving back from Denver and we put the rough mix in the CD player and all just felt terrible about it.

AAJ: Was it the recording session itself that made you feel this way? Or was it something else?

RS: Yes. I don't know if it's the experience of performing live in front of people who are feeding off of your energy and music and your solos...finishing a tune and getting applause and that instant gratification of the memory of what we just did. This is a great feeling.

But while we were in the studio it felt like it was representative of us on a night where we were only there 70%. And this feeling, after the recording, lasted for a good month. But listening to it almost a year later, having the distance, we all feel that it's a wonderful representation of our talent. We all love it.

Going through that initial disappointment was huge. I didn't think it was as good as I hoped it would be and I was worried because I had already committed to the mixing process and hired a Grammy Award-winner to do so. I thought, okay, I need to commit to this and be with it and that's when my attitude shifted. I guess we find what we look for. It's as easy to dwell on the negative things as it is to dwell on the positive.

Ricky SweumAAJ: You're signed to and distributed by Origin records. What would you say was your biggest challenge in the process of hiring and finding the right label for your album?

RS: I had it in the back of my mind, once everything was laid down in the studio, or even before that really, I hoped that the album would be picked up by a label. I've done a number of recordings in the past that have all been self-released and they were great but I only sold a couple of them, gave them away mostly to friends.

Having the label was something that seemed to be missing in my musical development. It was one of those things I think a lot of musicians need to have in their lives. But for me, I'd been feeling that I needed it for a long time even though I went through such a long stretch where I didn't feel like I was ready to put forth the effort to have something on a big label.

That being said, you can, as an artist or musician, spend a lifetime in a practice room preparing for something. If you're always looking to improve, you can always have the excuse that you're not ready, especially in music where there are always going to be an infinite amount of things to work on. For me, I had to have that missing step, that validation. I didn't have anything under my own name. Obtaining it became this big unknown...I had to figure out how to break into it.

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