Rudresh Mahanthappa is a man on a mission. He's driven to integrate the saxophone into a vast panorama of settings far beyond its typical range. His output is often reflective of his Indian-American heritage, with an engaging hybrid approach that merges avant-jazz and South Asian elements. His current quartet, also consisting of microtonal guitarist David Fiuczynski
in Kinsmen. The act explores the intersections between Indian and Western improvisatory approaches, with Mahanthappa taking on a jazz-oriented role, while Gopalnath represents the South Indian side of the equation. Mahanthappa is also one third of MSG, a mercurial trio with drummer Chander Sardjoe and bassist Ronan Guilfoyle that recently released its debut album Tasty! (Plus Loin Music, 2010).
Mahanthappa's latest recording, Apex, (Pi Recordings, 2010) is a cross-generational collaboration with the highly influential, yet unsung saxophonist Bunky Green
. Best known for a string of albums on Vanguard in the '70s, including the acclaimed Places We've Never Been, Green is enjoying a renaissance of interest as a result of Apex. The fiery, impressive effort features original compositions from both Mahanthappa and Green, as well as performances from pianist Jason Moran
. While Green primarily focuses on his role as a jazz educator, serving as the Director of Jazz Studies at the University of North Florida at Jacksonville, the group is an ongoing one, with future recordings and performances planned.
All About Jazz sat down with Mahanthappa to discuss the making of Apex, as well other pivotal moments in his career, over potent glasses of sweet potato schochu at the O Izakaya Lounge in San Francisco's Japantown. In conversation, Mahanthappa offers a similar combination of intrigue, inspiration and humor as that which informs his art.
All About Jazz: Describe the seeds of the Apex collaboration.
Rudresh Mahanthappa: My relationship with Bunky goes pretty far back. I first heard Bunky when I was at Berklee. I had just moved there from North Texas. The reason I left North Texas was I was hearing something that wasn't necessarily traditional in my head and I started developing some kind of "modern" vocabulary as an improviser and composer to some degree. I thought Berklee would be a better place to work that out. I hadn't yet heard Greg Osby
or any of those folks. I was checking out a lot of Coltrane and 20th Century classical music and trying to reverse engineer how they created vocabulary and fodder for melodic ideas. During my first semester at Berklee, Greg Osby did a residency and played a concert at the end of his week. I can't remember liking or disliking it, but I thought there was something there that was different and very interesting. This was all happening in 1990. It was the year that Dave Holland
released the Expansions album. A friend of mine put some headphones on my head in the practice room and said "Check this out." And I was like "Whoa, Steve Coleman." I couldn't believe what I was hearing when I encountered his writing and playing. I heard a kind of kinship with that music and what I was striving for. I heard Charlie Parker
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