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- Album InterviewNubya Garcia Odyssey
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Album Interview
Nubya Garcia
Odyssey
Concord Jazz 726261 (CD, 2LP, DL) ★★★★ EDITOR'S CHOICE
Nubya Garcia (ts) plus various personnel including Joe Armon-Jones (ky), Daniel
Casimir (b), Sam Jones (d), plus strings. Rec. date not stated
This new album from the multi-award-winning tenorist, bandleader and composer, Nubya
Garcia, which follows her 2020 release on Concord Jazz, Source, represents an inspiring sonic leap forward. As well as pulsating modal workouts ("The Seer'), there's real melodic beauty, too, from 'Set It Free' (featuring London-based vocalist and trombonist Richie Seivwright) and 'We Walk In Gold' (featuring US vocalist, producer, and songwriter Georgia Anne Muldrow) to the ethereal beauty of the instrumental 'Clarity'. Garcia also reveals some lovely arranging touches the way in which the Chinekel strings and guest vocalist esperanza spalding introduce album opener 'Dawn' in free time, while the core trio of Joe Armon-Jones, Daniel Casimir and Sam Jones slowly introduce pulse in a gradual fade in; the dramatic strings only coda appended to the epic title track; the fabulously rich string pizzicati which drive 'Water's Path' ever onwards; plus strings and sax ascending together in the all-too-brief 'Clarity (Outerlude). Peter Quinn
Peter Quinn speaks to Nubya Garcia:
The album blends your regular band with the wonderful strings of Chineke! What was it like working with them, and using strings?
It was an absolute pleasure working with Chineke! It has been a long-time dream of mine to work with strings and to work with them in particular. They have been championing diversity in the orchestral world for a while, and having grown up in orchestras that weren't diverse, this is extremely close to my spirit. To see them making palpable change and inspiring young people to see themselves represented and having a place in that musical world, it brings me so much joy. As for me writing and arranging for strings for the first time, it's been such a fulfilling experience! I feel incredibly proud to have pushed and challenged myself to create something in a way I have never done before. It's hard for me to actually put it into words, but yeah, I feel really happy to have achieved that vision.
Were there any particular challenges you faced in balancing these different musical elements, and were there any specific jazz-with-strings albums or artists that influenced your approach?
I'd say a challenge was at points trusting I would get it to where I actually wanted it to sound. I think doubt can play a huge part when you're doing something you've never done before. I didn't listen to any 'jazz with strings' albums whilst writing, maybe in an attempt to not mimic anything. I listened to more orchestral works, as I have done for years, went back to my favourites and tried to actively listen with different ears. One that I go back to, and have done since I was about 13. is Elgar's 'Cello Concerto in E minor'. Also, Vaughan Williams' "The Lark Ascending', always!
If you had to name your favourite orchestrator or arranger, who would it be and why?
I have many for different reasons, but I'd say the ever-beautiful works of Duke Ellington and his long-time collaborator and arranger/orchestrator Billy Strayhorn. Their collaboration spans three decades! And they created incredible music that has remained timeless and ever emotive. Another favourite has to be Miguel Atwood-Ferguson, he has arranged in so many styles and for so many artists, he is undeniably brilliant and inspiring. The beds of sound and the worlds he creates with his string arranging are truly beautiful. I'll never forget the first time I heard his arrangements live, he was conducting Suite for Ma Dukes at the Barbican in 2016 and I was just transported and in awe of the luscious, rhythmical tribute to J Dilla.
esperanza spalding is one of your collaborators on the album. Can you tell us about the creative process of working with her and how her unique style contributed to the album?
Working with esperanza was absolutely wonderful - I have been listening to her for so many years that when I wrote this piece, I heard her on it. It was amazing to witness her lyricism and storytelling, her openness to my thoughts and feelings, and to continue to build this story together. I composed the melody and the rest of the tune in such a way that having her weave in these incredible lyrics felt so organic and like everything melded together perfectly. Her attention to detail and her unique musical sensibility was inspiring! Writing lyrics is incredibly new to me, and seeing how she weaves a story together, shares and delivers it so it sits right within your spirit, I am truly honoured to collaborate with her, the first of many, I hope.
As both a sax player and composer, how do you feel your instrumental voice informs your writing, and vice versa? Are there any specific pieces on the album that highlight this relationship?
I think they continue to weave in amongst each other and inform each other greatly! Me exploring my compositional voice further on this album all comes from my instrumental voice, after all composition is improvisation slowed down, tweaked, etc! I think all of the pieces on this album demonstrate that, to be honest. I want you to be able to sing a melody, that's something that's always in the back of my mind.
Jazzwise October 2024 ■ 41