Dear All About Jazz Readers,

If you're familiar with All About Jazz, you know that we've dedicated over two decades to supporting jazz as an art form, and more importantly, the creative musicians who make it. Our enduring commitment has made All About Jazz one of the most culturally important websites of its kind in the world reaching hundreds of thousands of readers every month. However, to expand our offerings and develop new means to foster jazz discovery we need your help.

You can become a sustaining member for a modest $20 and in return, we'll immediately hide those pesky Google ads PLUS deliver exclusive content and provide access to future articles for a full year! This combination will not only improve your AAJ experience, it will allow us to continue to rigorously build on the great work we first started in 1995. Read on to view our project ideas...


Django Bates: Generous Abundance

Ludovico Granvassu By

Sign in to view read count
When all my school friends were exchanging football cards of football players with bad haircuts, I was a at home mesmerized by Charlie Parker and making little plasticine models of him.
If you love jazz because of its capacity to surprise, amaze, astound, even flabbergast, and leave you without words, then Django Bates is the musician for you. A bird's-eye view [no pun nor reference to Bates' love for the music Charlie Parker intended] of the striking body of work the British pianist has developed over four decades reveals what must be a very generous disposition. His projects and music can range from the subtle, delicate and reassuring to the bombastic, maximalistic and mesmerizing, covering a wide range of human emotions. The career choices he made seem to reveal the generosity of those that devote their efforts to putting together very large ensembles and keeping them alive for years, or to sharing their knowledge and experiences through teaching. This generous abundance can be found not only looking at his entire oeuvre but also inside his compositions, each one replete with so many ideas, motifs or riffs that would fill another musician's whole album.

On the occasion of his North American tour, which will take him to the Jazz Standard in New York (19 and 20 June 2018), the Xerox Rochester International Jazz Festival 23 June 2018 and the Ottawa International Jazz Festival (25 June 2018), we spoke to Django Bates about his recent return to ECM with The Study of Touch featuring his trio Bèloved, featuring Swedish bassist Petter Eldh and Danish drummer Peter Bruun; the new collaboration with Anouar Brahem; the years with Loose Tubes, the large ensemble that revoluzionizied the London jazz scene in the mid-to-late '80s; playinig the piano; and —more generally —about the opportunities that open up when one has the ability to change his mind.

To listen to music from Django Bates' many projects, as well as to excerpts of this interview, play the archived podcast of Mondo Jazz.

All About Jazz: Adventure and surprise seem to be distinctive characteristics of your music. Is that the natural outcome of a certain way ot looking at life -and therefore at music -from a vantage point that is quite different than most, or are you deliberately and constantly looking for something new and different?

Django Bates: I'm sure that the very wide mix of influences that I was exposed to while growing up have had a big effect on what I think is a sensible version of music. However, when I'm composing music, I'm writing with myself as a listener. So things like, for instance, the structure of a piece is based on what I would like to experience if I were at a concert. The outcome is always different. Sometimes, as a listener, I would like to experience a surprise or an unexpected solution. Other times, I like to just have five and a half minutes of pleasurable experience that doesn't suddenly throw you off a cliff at the end, but just takes you the whole way through in peace. So, in the end, each time I write a piece it feels like a new experience of me in the audience listening to myself.

AAJ: At times you go back to old compositions of yours, like "Little Petherick," "We Are Not Lost We Are Simply Finding Our Way" or "Senza Bitterness" which are on your latest record, The Study of Touch, after having appeared on earlier albums. When you return to your old compositions after many years, having had some distance from them, do they feel almost as if they had been written by someone else?

DB: I don't listen to my own stuff very often. When I do it's always a surprise. It still feels like my voice as it is today, I still relate to everything that I've written in the past. When I went back to "Little Petherick" it felt like opening my diary, reading a page from way back in time and thinking, "Ah, yes, I remember that day very well." I remember the recording and I remember writing the piece, where it was written and everything. I suppose that a lot of my music doesn't need to change that much from its original writing down of it or the original recording version of it. A lot of detail goes in at the opening of a piece and then there is room for evolution. But, the structure of a piece like "Little Petherick" is what it is, and that's what it should be.

As far as playing other people's music is concerned, I might transcribe someone's work from time to time, out of my own interest. Over the years I have deliberately stopped being in other people's bands, until quite recently, when Anouar Brahem asked me to join his band.

AAJ: The first album with your current trio Belovèd Bird focused on the music of Charlie Parker. Why did you start the recording life of this new project with music not written by you?

DB: The start of the Charlie Parker project was a bit of an accident. The early phase with the trio with Petter Eldh and Peter Bruun was very free. I really wanted to play with them, but I did not have any music written for the trio yet. So I said, look, let's just have the first rehearsal. I'll think about the material later. We had a lot of fun playing without any music. I might just say "let's play as quietly as possible for as long as we can sustain the interest or let's play as fast and loud as possible, as long as we can sustain that physical energy." We experimented a lot with the way we would set up physically in the space, things like that.

A year into that process, I got an invitation to be part of an evening celebrating the life and music of Charlie Parker. My answer to the invitation was "yes!," immediately, because Charlie Parker was my first childhood hero. I grew up with his music and then reading tbis biography, which sucked me into the romantic story and the excitement of having a hero. When all my school friends were exchanging football cards of football players with bad haircuts, I was at home mesmerized by Charlie Parker and making little plasticine models of him that I could pretty much worship.

After accepting the invitation, I decided to play Charlie Parker's music my trio. And it was even more fun than I would have imagined. We ended up recording the Charlie Parker project for Belovèd Bird, the first album that we did. Then the trio progressively moved away from it.



comments powered by Disqus


Start your shopping here and you'll support All About Jazz in the process. Learn how.

Related Articles

Chuck Deardorf: Hanging On To The Groove
By Paul Rauch
January 19, 2019
Satoko Fujii: The Kanreki Project
By Franz A. Matzner
January 9, 2019
Ted Rosenthal: Dear Erich, A Jazz Opera
By Ken Dryden
January 7, 2019
Jeremy Rose: on new music, collaborations and running a label
By Friedrich Kunzmann
January 6, 2019
Ronan Skillen: Telepathic Euphoria
By Seton Hawkins
January 5, 2019
Ron Carter: Still Searching for the Right Notes
By Rob Garratt
December 30, 2018
A Conversation with Music Author Alan Light
By Nenad Georgievski
December 16, 2018