Home » Jazz Articles » Take Five With... » Take Five With Richard Lewis

142

Take Five With Richard Lewis

By

Sign in to view read count
Meet Richard Lewis:
"Classically trained under minimalist composer Brian Wilshere and by turns jazz drummer, folk guitarist and composer of scores, [Richard Lewis] has created a perfect synthesis of his various influences and experiences. His album, Untitled is a small marvel, full of hidden treasures, for which he summons not only flighty bursts of avant-garde piano and folky guitar picking but also organ, accordion and banjo. The talent and technical prowess of this top-level musician are placed beyond doubt."

Instrument(s):
Piano, guitar, drums, accordion, banjo etc

Teachers and/or influences?
Growing up in a drab British suburb, my drum teacher Brian Wilshere saved me by introducing me not only to the magic and discipline of the concert music tradition, but by opening the doors to music in general as an escape route. Both physically, as a way of meeting people and broadening my horizons, but also as a very necessary channel for an overactive imagination.

I knew I wanted to be a musician when...
It's always been there. As a kid I used to walk my dog through the woods and songs would fall out of the rhythym of my footsteps. From there to drums was a short step. Drums informed everything else. We are in nature: without pulse there is nothing.

Your sound and approach to music:
It's my way of making art. I think the job of art in general is to find a vocabulary for the stuff we can't really speak well about. I like the fuzzy emotional territory, the feelings we don't have adequate names for. Music is the best way I've found of touching on that area and, perhaps, soothing it.

Composition is mysterious and comes through improvisation. Music finds me when I recognise a certain feeling in what I'm playing. I then pursue that until my intuition tells me I've understood it. Then I can build structure and arrange around that emotional core.

Your dream band:
Danny Thompson on double bass; Bheki Mseleku on piano; Andy Sheppard on soprano sax; Tomasz Stańko on trumpet; Jack DeJohnette on drums.

Your favorite recording in your discography and why?
I always like what I'm doing until it's finished, whereupon I'm unable to listen to it. Working on new material is infinitely more interesting than revisiting what's been laid down.

The song "All the good men" from my untitled album, gave me a strong clue as to where I should be heading next. I stopped fighting and compartmentalising my influences. I listen mostly to jazz and folk, so why had I ben excluding that from my work? It made no sense. The new material lets the jazz come flooding in, but somehow retains a melodic sense that seems to come from the folk tradition.

The first Jazz album I bought was:
Probably Lee Konitz in Rio. It's not my favourite.

What do you think is the most important thing you are contributing musically?
I'm the last person capable of judging. Probably nothing. But I did once get a letter from a listener who said my music had a "healing effect." It's probably worth the years of indifference just to hear that.

Did you know...
Nothing is known about me. All facts about me are little-known facts. I'm keen on corduroy, but currently own very little of it; something I'd be keen to rectify, given the opportunity.

CDs you are listening to now:
Tomasz Stanko—Litania—ECM
Danny Thompson—Whatever—Hannibal
Arve HenriksenChiaroscuro—Rune Grammofon

Desert Island picks:
Andy Sheppard—A—Antilles
Bheki Mseleku—Celebration—World Circuit
Arthur BlytheLenox Avenue Breakdown—Columbia

How would you describe the state of jazz today?
I'm not sure I'm qualified to comment, but from here on the outer edge of the fringe it seems vibrant, evolutionary, rich and eclectic.

What is in the near future?
I have a new album due for release early in 2012 on Louba Reve Records.

I'm collaborating on new work with my former teacher Brian Wilshere. No date for that yet.

By Day:
I've been a professional writer for the last 12 years or so.

Comments

Tags


For the Love of Jazz
Get the Jazz Near You newsletter All About Jazz has been a pillar of jazz since 1995, championing it as an art form and, more importantly, supporting the musicians who create it. Our enduring commitment has made "AAJ" one of the most culturally important websites of its kind, read by hundreds of thousands of fans, musicians and industry figures every month.

You Can Help
To expand our coverage even further and develop new means to foster jazz discovery and connectivity we need your help. You can become a sustaining member for a modest $20 and in return, we'll immediately hide those pesky ads plus provide access to future articles for a full year. This winning combination will vastly improve your AAJ experience and allow us to vigorously build on the pioneering work we first started in 1995. So enjoy an ad-free AAJ experience and help us remain a positive beacon for jazz by making a donation today.

More

Jazz article: Take Five with Saxophonist Nick Stefanacci
Jazz article: Meet Tubist Jim Shearer
Take Five With...
Meet Tubist Jim Shearer
Jazz article: Take Five With Pianist Olivia Perez-Collellmir
Jazz article: Take Five With Bassist / Composer Jakob Dreyer

Popular

Get more of a good thing!

Our weekly newsletter highlights our top stories, our special offers, and upcoming jazz events near you.