Interview - Jamie Taylor - Outside Line Album

I caught up with Jamie Taylor the Sheffield based guitarist for a chat (by email) about his latest project 'Outside Line'

In case you cant read the album cover the personel are:

Garry Jackson -Bass

Dave Walsh - Drums

Jamie Taylor - Guitar

Matt Anderson - Sax

MBS -  It's been five years since your last album, have you been working on this album since then?

JT - The last album (“Cat Dreams”) was with my previous group “Java” - which gradually ceased to be, as we all got busier with different things. I didn’t feel like doing anything of my own for a long time after the last record. I played and recorded with Jamil Sheriff’s big band, and worked quite a bit with other groups like Paul Baxter’s Give A Little Love Orchestra and Ben Lowman’s Django Project. I also did quite a lot of work with vocalists - two records with Sarah Brickel, and a string of dates with Rosie Brown’s “Where Light Falls” project. Eventually, I began to feel ready to get something going again, particularly once I started playing with Matt, Garry, and Dave - the group that became "Outside Line”.

I guess I wanted to wait until I was doing something distinctly different from what I’d done before, and I knew I wanted to switch the line-up to a tenor/guitar quartet, so that I could do a bit more comping. If there’s no piano, that can afford a bit more freedom harmonically sometimes. I also wanted to loosen up my approach a bit and experiment with some different textures and longer forms etc. Finally, just on a practical level, it’s a costly business, making records - I can’t afford to do it too often!

MBS - Did you take a collaborative approach to writing this music or was it arranged first?

JT - I think what we do is pretty typical of how most contemporary jazz groups function. Someone writes a tune (they're all mine, on this album, but Matt has started writing for the group now as well) which will have a melody and harmonic structure in place before it’s brought to the quartet. But then, when we start playing it, everyone’s free to make suggestions. I think you have to get a balance between clarity of vision and collaboration within a group. It’d be crazy to take musicians like these and then try to limit their contributions. At the same time, though, I feel it’s almost as bad to ask really fine players to work with you and then just coast along in their slipstream - you have to know what each player’s special qualities are, and why you think they will combine well together.

MBS - When writing music do you start with the melody, chord structure or a different starting point and build from there?

JT - It can be either. With this record, the stuff on Side One is all quite melody driven so, there, the melodies definitely came first. With the “Three Colours: Blues” suite on Side Two, the idea was to come up with unusual variations on the basic 12 bar blues theme, which meant that structure and chords were perhaps more pre-determined.

MBS - I understand that it was recorded in a secret location, any reason for this?

JT - I wouldn’t call it a secret location exactly but, like all studios, Wharfe Valley Sound doesn’t like to advertise its exact whereabouts for the usual security reasons. In terms of the process, it was lovely. Sam Hobbs is an amazing producer, engineer, and musician. He does everything he can to make you feel like you’re playing live - we were all the same room and there were no headphones in sight! That’s no mean logistical feat, especially in a fairly small space, and it makes such a difference to the music. Almost everything on the record was a first take, which I think says it all really. The kettle was always on as well - music is impossible without a plentiful supply of tea.

MBS - Have you been gigging the album's music before recording or have you recorded it first?

JT - We’ve gigged most of it - the exception being “Fugue (Hazy)” which came together shortly before the sessions. Generally, it’s always better to have gigged material first, I think - you’re more familiar with it and, also, live audiences are brilliant at letting you know what the shape of something should be; they help you to answer questions like: Where are the climaxes? Are there any bits that could get boring? etc.

MBS - Are the musicians on the album, long -time associates or specially selected for this music?

JT - Both. Garry Jackson and I go back to the Jurassic Period, and I’ve known Dave and Matt for several years as well. But, as I said previously, just because you’re friends with someone and know they’re a great player, it doesn’t necessarily mean that a particular combination will work. So, yes - in that respect, they were absolutely chosen for this music.

MBS - You have treated this album as whole rather than a collection of songs, why did you decide to have longer pieces?

JT - Well, I have a great fondness for the golden era of vinyl - you know that sort of 1970s British art-rock thing where you had the gatefold sleeves and pieces took up one whole side of an album? The LP was invented almost by accident, but it’s always felt like the perfect size of canvas to me. I keep waiting for the digital music thing to emulate that - people at the moment seem to prefer convenience, which is fine, but with all these playlists and everything - I don’t know… with some music it can be like shuffling the chapters of a novel. Lots of people have said that, I know...

MBS - What was the inspiration for this album?

JT - Various things, but quite a lot of it was inspired by the arrival of my nephew and niece in the last three years, and the album is dedicated to them - hence “Someone New: Suite”. When my niece was born, I remember going out for a long walk in the Peak District and, when I got home, the first section of that piece came to me in a flash. It’s really funny how that happens; I think the scientists are starting to explain it now, in terms of how certain activities can stimulate other areas of the brain.

MBS - Is the music telling a story?

JT - Not in a strict programmatic sense, I don’t think, but I hope there’s a journey involved. The first suite certainly travels from music that sounds quite uncertain and mysterious in the beginning to a fairly uplifting and positive conclusion - that probably reflects my feeling about life in general. It’s scary at times, but if we have the right people around us, it’ll all be ok!

MBS - Will you be touring the album?

JT - We will, but first I have a UK tour in February with Tom Harrison, Conor Chaplin, and David Lyttle. Once I get back from that, it’ll be full steam ahead with the Outside Line project. I’m just in the process now of trying to get everything organised - I wish there were eight days in the week sometimes. If only The Beatles had been right about that… All my live dates are on my website at www.jamie-taylor.com so that’s the place for people to go if they want to check the progress.

MBS - Do you like marmalade?

JT - Now we get to the heart of the matter. If someone gave me hot buttered toast and marmalade, I’d be very grateful, and I’m sure I'd enjoy it. But, if I was making it myself, I’d probably stop at the butter stage.

Thank you to Jamie for the chat, I understand the album will be out mid Jan 2014 all details will be on Jamie Taylors website www.jamie-taylor.com there is a preview on sound cloud:
http://soundcloud.com/jamie-taylor-32/introducing-outside-line

Having had a sneak preview, ealier in the year and of the album, all I can say is this is a great album, we have an early copy so will be posting a review here soon!

Mark

Dave Walsh “Storyboard” album review and interview

Drummer and Principal Lecturer at Leeds College of Music, Dave Walsh is not only a talented improviser (as can be evidenced from the music available on his website davewalsh.net) and an enthusiastic teacher of percussion skills and technique, but, from what is palpable from his latest release “Storyboard”, an exceptional arranger. The production is tight and crisp, and the mood throughout is buoyant and inspirational. Coming to the attention of Jazz Goes to Leeds after one of the coldest springs since records began, “Storyboard” is a glorious way to enter the summer months. “After Sweden” is fresh and intense, with delightfully restrained guitar from Stuart McCallum. One is almost reminded of “Letter from Home”/”Still Life (Talking)” period Pat Metheny in the mood that is created.  The title track “Storyboard” gently slows the tempo but not the joyous passion. Delicate, gossamer thin piano lines, enclosed within elusive ambience on “For a Short While” and “Wait, Don’t Walk” are both reflective and insightful; this is music to instil both melancholia and affection. “Because Of...”, and for the most part “Hold On”, have a childlike naivety that is at once disarming yet commanding. The listener is transported to a place of sorrow and elation within the same few bars. The titles of the arrangements themselves, such as “Peace of One”, are irresistibly evocative of the mood they create. Rising imposingly over ethereal keyboard textures, “Turning Circle” shifts pace into a Latin jazz and experimental flavoured piece, that helps add further textures to the recording. The album closes with “Autumn Song” which, again, has a devotional quality reminiscent of Alice Coltrane, Carlos Santana and Pharaoh Sanders at their most spiritual.
There is a real sense throughout “Storyboard” that the players are working collectively toward an almost sacred goal. The eleven piece band is comprised of a variety of electric and acoustic instrumentation which helps to give these arrangements an almost organic quality.  Although the compositions are arranged principally by the drummer, there is never a sense that egos have come in to play. The solos, rather than being seen as an opportunity for bravado and technicality, weave themselves into the arrangements with subtlety and respect. Some of the influences that have come to bear on the percussion on “Storyboard”, principally Peter Erskine and Jack DeJohnette, are manifest throughout, and go a long way to acknowledge how absorbed influences are passed from generation to generation.  There is a humble professionalism infusing these compositions that make for a blissful and rewarding listening experience.  As the title suggests, “Storyboard” can almost be read as a narrative, or soundtrack, to a time fondly remembered.

Mark had the chance to meet up with Dave Walsh, (www.davewalsh.net)a well known drummer who is also Head of Specialist Study for Jazz and a principal lecturer at Leeds College of Music, for a chat about his newly released album.

Mark Beirne-Smith - Is this a debut album in terms of being a leader?
Dave Walsh –Well its is a re-issue! There is a lot of material from my 2003 album ‘Melody before me’. The main problem I had with that recording was problem with the drum sound. I had an opportunity a couple of years ago to rerecord the drums and then fix a few other problem.

Mark Beirne-Smith - How would you describe the music in terms of Genre and influences?
Dave Walsh – I think it is cross genre, there is a classical influence because I studied classical harmony when I was at school. I am also in to Latin rhythms, particularly samba. Personal influences are Lyle Mays (pianist), Pat Metheny, especially the group stuff… Keith Jarrett, especially his improvised Solo Concerts. Outside of Jazz the singer songwriter James Taylor and Michael McDonald have also influenced my writing.

Mark Beirne-Smith - What is it that you want to say with this album?
Dave Walsh – For me Melody is really important, as I’m into melodic music. This is not an out and out ‘Drum’ album. There are a few elements and evidence of slightly drum heavy nits to the music, but overall I think the melodic and textural quality to the music is more obvious.

Mark Beirne-Smith - Which part of the writing process do you find most difficult?
Dave Walsh – All my writing is improvised on the piano and kept as is. I then store it on the computer and add texture, extra instruments, rhythm and percussion and that is what takes the time for me to get right.

Mark Beirne-Smith - There is a lot of textural sounds across the whole album, I especially noticed this in ‘For a short while’ , more so than in standard jazz music, is this intentional?
Dave Walsh – Yes, well the textural sounds are really important to create mood and feel, when the music is moving along its journey. When working on this album, the textual aspects were probably the longest part to record. It really helps the listener to engage.

Mark Beirne-Smith - Is there a new career as a jazz singer or pianist beckoning?
Dave Walsh – NO! I use to play piano years ago with a singer. Jazz standard etc. I wasn’t very good at it!

Mark Beirne-Smith - What are the advantages of being a drummer lead project?
Dave Walsh – I’m not sure it has any advantages but one thing I’ve noticed over the years (and I don’t included myself on this level) is that very highly respected drummer are often very strong writers. My theory on this is that I think musical drummer, drummers who listen and empathise with the music they are within, often love melody and texture and that comes through in their writing.

Mark Beirne-Smith - It is released just in electronic format, any reason for that?
Dave Walsh – Variety of reasons, I am not intending to gig the music as there is no band set up any more, so there isn’t a need for a physical product to sell at gigs. There is a lot of change in the music business especially with independent music, so I am just selling it on

Bandcamp link to "Storyboard"

Mark Beirne-Smith - Who are you gigging with?
Dave Walsh – In terms of jazz, Jamil Sheriff trio, Stuart McCallum’s Distilled project, The Jamie Taylor 4tet and Matt Andersons Wildflower project. In terms of other styles of music, I’m still involved with Singer/Songwriter Tom McRae. We recorded a new band album last year. Tom is currently touring his latest solo album ‘From The Lowlands’ so we’re hoping the band record is out next year. Tom wrote some stunning songs for that project. I’ve also been recording with a singer/songwriter from Manchester called JP Cooper. I’ve done is last 2 EP’s. He’s also well worth checking out.

Mark Beirne-Smith - Do you like marmalade?
Dave Walsh – No, No and No, wish I did but I don’t.

The following musicians are on this album

All Compositions - Dave Walsh.
Dave Walsh - Composition, Drums, Piano, Strings, Vox
Stuart McCallum - Electric Guitar
Simon Willescroft - Alto, Tenor, Soprano Sax
Lara James - Soprano Sax
Russ Van Den Berg - Soprano and Tenor Sax
Pete Hughes - Piano, Keys
Richard Hammond - Acoustic and Electric Bass
Lea Mullen - Percussion
Richard Wetherall - Piano
Ollie Collins - Vector Bass, Piccolo Bass, Fretless bass, Electric Bass.
Ulrich Elbracht - Acoustic Guitar, Electric Guitar.

Dave Walsh is an Istanbul/Agop Endorsee and a D’Addario Artist.

I really enjoyed listen to this album, the textural elements really did set the melodies up. Even though it was not intended to be a straight ahead jazz album, there are some noticeable influences there. It is definitely worth £4 of anyone’s money.