What ensembles have you been in?
I have worked as a sideman in many ensembles in Canada, England and the U.S., none of which are known that widely but made great music nonetheless. While in London I worked with a great jazz composer, Graham Collier, who has been creating interesting music for many years. In Toronto I had a trio called Delwareness with classical guitar, double bass and reeds that played in Toronto and Montreal. Since moving to Maine I have focused on my own group, The Titus Abbott Collective, and now a new ensemble, The Happenstance Quartet, co-lead with Curtis Clark, who is an amazing pianist now living in Maine after years in Europe playing with so many great names. Portland is fortunate to have him.
You must love Coltrane, no? I hear a lot of him in your music.
Most definitely. Coltrane is a big influence. His music is so heart connected no matter how complex or crazy it gets. His sound is what is central to his playing. That can be said of most of the greats. Their sound is what really hits one first. The notes are next.
How is the Happenstance Quartet different from the Titus Abbott Collective?
The Happenstance Quartet is different mainly because it is about the music that Curtis Clark makes. It is an open improvising ensemble. We play compositions both by Curtis and myself but many pieces are totally improvised or what I like to call instant composition. Curtis is an amazing improviser as are Jim Lyden and Gary Gemmiti. We have formed a real chemistry in a short time. The sound of the group can be very delicate or more aggressive.
How would you describe the connection the occurs between musicians during musical improvisation to folks who have never played?
The connection to the audience is very important. They are part of it. Their presence plays a key role. If one is open then the music will have a place to come in. I have found that people who don’t necessarily think jazz is their thing have started to respond just by being part of a kind of “happening” or moment. We try to be both approachable and adventurous.
Why is jazz important to modern music?
Jazz is important to modern music primarily because it is one of the main places where improvisation is still a major part of the creation. There was a time where improvisation was part of classical and folk music. That has disappeared somewhat.
Why do you think jazz is played so often in restaurants, but there are so few jazz clubs in Portland?
Jazz is often used as a mellow backdrop, sonic wallpaper. As classical music is to bookstores, jazz is to restaurants. A jazz club is a different thing. Hopefully there will be a day when a jazz club is a viable thing in Portland. At the moment there is not quite enough demand.
Do you think a jazz revolution could occur here?
I do feel that jazz could take a bigger role here at some point. Also, restaurants might start to think of jazz as something more than wallpaper which might bring in customers who would like to both listen to jazz ensembles and eat a meal or have some drinks. Restaurants might see jazz as a way to expand their market.