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Trish Clowes: Sounding Colors, Playing With Gravity

Trish Clowes: Sounding Colors, Playing With Gravity
Ian Patterson By

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It’s social music. You’re connected to people and you’re affected by people. At times you can’t help but be moved to speak out on certain issues, and it should be encouraged more —Trish Clowes, saxophonist, composer
If it hadn't been that day, twenty some years ago when the young Trish Clowes first felt the pull of the tenor saxophone, it would surely have been another.

Barely in her teens at the time, Shropshire-born saxophonist and award-winning composer Clowes already played piano, clarinet and sang when she went to see her Dad, an amateur trumpeter, play with the local big band. "When I heard a tenor saxophone feature on "In a Sentimental Mood" I thought 'Wow! That's a really cool instrument.'"

A small light flicked on inside Clowes' mind but it wasn't a life-changing moment that would define her path. "It was never a plan to be a professional jazz musician. I didn't really think I could become one," Clowes admits. "I just sort of got into it."

Within a few short years, after gigging regularly around her hometown, Clowes passed an audition—much to her surprise—for the Royal College of Music in London. It wasn't long until her path became clear. "I had this sort of epiphany where I realized that my whole life revolved around music and it was just a question of how to go forwards with it really. When I decided to go for it, I was all in."

There was no looking back. Since then Clowes has been selected as a BBC New Generation Artist and has been championed by the likes of Jamie Cullum, broadcaster/curator Fiona Talkington and renowned jazz critic John Fordham. She laid down a significant marker with Tangent (Basho Records, 2010), an adventurous coming together of jazz and orchestral colors. Three more well received albums followed.

Not one to tread water, Clowes is the founder and curator of Emulsion—a festival/project dedicated to genre-less new music—and Professor at the Guildhall School of Music and Drama. As if that wasn't enough, Clowes fills the empty hours studying a PHD and is also an ambassador for the charity Donate4Refugees. Perhaps her strength as a leader comes from all the different challenges she sets herself, both professionally and personally. "You can learn something from every situation," says Clowes. "It's a constant learning process."

Ninety Degrees Gravity (Basho Records, 2019) marks the second outing with her outstanding My Iris quartet—surely one of the most brilliant small jazz ensembles in the UK—and is arguably Clowes' most assured and impressive recording to date.

"The one you've just done always feels like your best one," says Clowes, a little modestly. She is quick to sing the praises of her quartet members Chris Montague, Ross Stanley and James Maddren, a line-up cemented in 2016 when Maddren joined the pre-existing trio. "The feeling with the band, the way we are growing, it feels more and more special as we build on things," says Clowes. "There are just so many colors and textures that I can get out of the ensemble. "

Clowes, Ross and Montague formed the trio in 2014, with unusually, neither a bassist nor a drummer. "A lot of the time for us as jazz musicians, even when the drums aren't there, they're almost in our heads," explains Clowes. "One of the things I've come to love about this band is being able to play everything from the quietest, most delicate textures to kicking up a storm. The drums allow me to enjoy that a lot more," she laughs.

For Clowes, however, the music is not so much about instrumentation. "I think it's just people really. When we started the trio, it was just wanting to work with Chris and Ross. I knew them pretty well and it kind of dictates the way you arrange the music, the way you comp for each other, the way the music unfolds. It was a really amazing experience."

Clowes met Montague and Maddren while they were all studying at the Royal Academy of Music in London in the mid-2000s. "I met Ross at a similar time," recalls Clowes, "though he was in a different college." When the trio became Clowes main gig, she soon realized that she wanted to add Maddren to the mix. Needless to say, the addition of Maddren transformed Clowes' music.

"It was really interesting because as a trio we had thought so carefully about how to comp for each other without drums, so in a way, when James joined, it kind of freed him up to do other things. It gave him more options." So many options, in fact, that Clowes describes his contribution as "an integral part of the music."

Maddren is all fired-up on 's pulsating opening number, "Eric's Tune," named in honor of former Weather Report drummer Eric Kamau Gravatt.

"I'd been listening a lot to early Weather Report and this particular album, Live in Tokyo (Columbia, 1972)," says Clowes. "I was just totally blown away by the drumming. I still don't think I've heard anything as incredible as that. I listened to that record a lot, thinking about the grooves Gravat was implying within the context of the group and wondering if I could translate that into some writing."

Though Clowes' music is not overtly informed by jazz-fusion's 1970s hey-day, when Miles Davis with his Bitches Brew band, Weather Report, Chick Corea's Return to Forever, Herbie Hancock's Headhunters and John McLaughlin's Mahavishnu Orchestra scored enormous commercial success, the saxophonist is fascinated by their musical melting pots.

"What's really interesting about that period of music was the access that a lot of those musicians had to new colors. Until that point jazz had been restricted to acoustic instruments and acoustic sounds. With electric instruments everything dramatically changed. They played in bigger venues and that affected the music. I imagine those musicians getting really excited about all the sounds they could use, particularly as they started moving away from standards and started doing their own thing," says Clowes.

"When you think of a musician like Charlie Parker with his love of Varese and Stravinsky, musicians then had all these colors and sounds around them, but they didn't have access to them. Most of them didn't have access to orchestras. I was listening to [Miles Davis'] In a Silent Way (Columbia, 1969) the other day and I thought this was the first time they did this. What were they thinking of there? What it must have felt like to imagine those sounds? And the amount of space..." Clowes marvels.

Common to both Weather Report and electric-era Miles Davis was Wayne Shorter, an important influence on Clowes. There is the ghost of Shorter's sound in Clowes' own playing and in her writing too, at times, notably on the fifth track of Ninety Degrees Gravity, "I.F."

"Wayne's a massive hero of mine," Clowes acknowledges. "His last quartet started around the time I was seventeen or eighteen. I was getting much more seriously into jazz and getting gigs. When I was trying to get repertoire together, working from Real Books, as were all the older musicians around me, I suddenly realized that all my favourite tunes were written by Wayne."
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