Leron Thomas has just released the haunting duet ‘These Things,’ featuring the trumpeter and singer on a song he has written the lyrics for and which unites him with newcomer singer Shola Adisa-Farrar and producer Superpoze. He introduces Shola and explains to Stephen Graham in this exclusive interview how hearing fellow trumpeter Roy Hargrove singing ballads inspired and taught him to grow as an artist both as instrumentalist and vocalist in the same organic process
When did you write the song and how was it recorded?
DJ Lefto handed a track over to me by the great artist, Superpoze. He said that Superpoze was having a hard time with what to do with the track. Lefto thought that I should try something over it. When I heard the track, I was on a very trying tour with a French producer last summer, and was facing a lot of decisions. Hearing the track during that moment, was so haunting yet reassuring. I heard the melody almost instantaneously. Then it dawned on me that it needed a female entity as well. I quickly contacted Florian Pellissier for the use of his studio, engineering, mixing and Shola for her beautiful vocals, after I had the lyrics, and this is how the track came about.
Tell me about Shola Adisa-Farrar? Who is she and how did you first get to work with her and what attracted you to her work?
Shola is a brilliant vocalist, residing in Paris. We share the same keyboardist for our bands, Florian Pellissier, and so naturally was introduced to her work. What drew me to her work was the distinctness of her voice. What I’m about to say might not make sense, but it’s the best way that I can describe it. Her voice unknowingly, knows itself. In jazz you get a lot of musicians that can shine over standards and then crash and burn over original material. And as well in reverse, you get people trying to define themselves and their “style”, prematurely, thus they suck when it comes to approaching a standard. But there are those that approach standards just fine, almost chameleon-like. Still, when you put them on the spot with an original composition, they surprisingly have this whole other thing going on, in their sound and approach. That’s what I dig in Shola’s voice and approach. That’s something that can’t be premeditated, but somehow gracefully deals with the unknown.
Where have you been touring recently and with what bands?
Well that’s a tricky one to speak on, even now at the moment. Up until last year, for the better part of two years I was touring with a French producer and occasionally my own band. Based in Paris, I was touring all over Europe. That abruptly got cut short, due to matters not worth further indulging in.
Singing, playing the trumpet, is it all part of the one thing, how do you make the leap between the two?
Sometimes one gets so skilful on their instrument, they begin to get lazy in their expression and start to hide behind their skill, yet are not really saying anything any more.That’s why I started singing. I would get around trumpet players and other musicians at jam sessions that would relax and play very fluidly. Only too well. They never seem to have a struggle in their playing because they weren’t wearing their heart on their sleeve like I was. It would frustrate me because even though I had classical skill and could pull some real stunts, I never could bring myself to be so devious and crafty. I played with true emotion. But due to my LOUD trumpet playing out of frustration with these comfortable players, I needed another outlet.
Singing was so fun, and writing things to sing about was just crazy fun. My joy for why I was a musician and artist, came back. And like the trumpet it required breathing. In my earlier stages of trumpet playing in NYC, anyone present would tell you that I was coming out of a random combination of Woody Shaw and Roy Hargrove. I heard Mr Hargrove sing the ballad ‘Body and Soul’ at a late night jam session, one night. His delivery was identical to his trumpet playing. He helped me to understand Louis Armstrong a little better. Because those guys were ancient to me, and the people that were the poster people for that era, were not making it attractive to someone like me. But through Roy Hargrove, I definitely understood more and got my path to where I didn’t see a leap between the two. Just a means of breathing and expressing.
Where are you based these days and what sort of gigs/sessions do you do there?
I’m based in NYC, with no “gigs” at the moment. Although I do like to go and check out my colleagues in the jazz world of NYC. Just checked out Jeremy Pelt, Charles Tolliver, Wayne Tucker, and Theo Hill the last few weeks. They on some good Kung Fu. I mainly only deal with my band right now and am trying to connect with agencies to get us working/touring strong for this next release. But I do enjoy Jason Moran’s Fats Waller Dance Party band. It’s an enduring gig on trumpet and artistic taste and choosing what spots to play or layout at is always a great challenge in figuring out because the moment is always alive and moving.
I liked your appearance with Zara McFarlane a few years back and on Whatever. How did you get to know Zara?
That was all Mr Gilles Peterson, right there. Gilles has been really supportive and instrumental in my music getting out to the public and overall career. He has a damn good ear and can hear things that work like a charm. He introduced me to Zara and her amazing voice and yep, we worked. My favourite live performance with her was in NYC. We tore that spot down in Brooklyn.
Going back to jazz history I used to hear a bit of Billy Eckstine in your sound. Maybe not so much now. Is he someone you listened to much or is that way off beam? But how anyway did you first get into jazz vocals and did you sing before you played trumpet?
Yeah I dig Mr Eckstine. The five that I would listen too all the time growing up though, were Johnny Hartman, Ella Fitzgerald, Billie Holiday, Betty Carter, and Abbey Lincoln. That’s for jazz though. Don't get me started on rock, funk, soul, and blues. Lightnin Hopkins, jack. Yep definitely sung before I played the trumpet. Wasn’t anything special until the trumpet, though.
Leron Thomas, top. Photo: Dailyswa Laurel/www.leronthomas.com
SOMETIMES YOU just crave a record. Very occasionally your dreams, as here, are answered from the first note. It is that sense of sharp reality, an ultimate abstraction, and the sheer destructive power of it all hovering into view. And yes art as art in all its extremity is never forgotten.
How austere is austere you might ask without being at all pejorative? Well listening here to alto saxophonist Oliver Lake (New York, Fall 1974, Are You Glad To Be In America?, a lifetime of work with the World Saxophone Quartet), bassist Reggie Workman (Ugetsu, Impressions, Capra Black), and drummer Andrew Cyrille (Conquistador, Unit Structures, Afternoon of a Georgia Faun) makes me ask another question: what do the blues and freedom mean to you? If the answer is a lot then listen above.
Released by Intakt this week described by the label referring back to an earlier album Time Being as “the first studio album by Trio 3 as an actual trio in more than a decade,” their artist festival in April is the biggest avant juggernaut to hit London club the Vortex since the club’s acclaimed ICP festival. Link
Joyce guests on Harry Allen quartet set Something about Jobim (***1/2) on the Danish Stunt label, an album that was recorded in a Brooklyn studio the summer before last. The Brazilian adds her low toned poetically oblique sensuous input that Allen in his more fogeyish days never really could capture.
Her tune written with Gerry Mulligan, ‘Theme for Jobim,’ (above in a much earlier version with Milton Nascimento), remains simply, staggeringly beautiful. Tenorist Allen whose tone lifts even his non-fans to admiration and silence simply plays out of himself. There isn’t too much distracting swing, drummer Tutty Moreno instead plays a blinder, keeping it really casual by casting a rhythmic invisible spell hypnotically in the air.
While there are dozens of Jobim songbook albums his music is so constant it reels back the years. Jobim songs are on hundreds of albums but if push were to come to shove I’d go for 1967’s Francis Albert Sinatra & Antônio Carlos Jobim or, just one song, one version, ‘Corcovado’ on Quiet Nights by Miles Davis from four years earlier. On the Allen album the tenorist is joined by Helio Alves on piano, producer Rudolfo Stroeter on bass join Moreno and Joyce (on a few tracks), the album opening with the classic ‘Dindi.’ Allen has learnt a lot from Coleman Hawkins and is now a falconer of considerable skill and taste. In brief it is the Tom and Harry, Joyce-stealing show. And no one can ever in the theme for Tom forget Gerry.