Kurt Elling: Recasting Brilliance
AAJ: Can you talk about your relationship with Laurence Hobgood? Also, how does a partnership/collaboration like effect recordings?
KE: Laurence and I have been working together for fifteen years or so. That obviously is a heavy part of what this is. We definitely work on things together but it's Laurence that puts the pen to paper. I'm not even sure who I would go to if it wasn't going to be him.
AAJ: How does this contribute to the dynamic within the group?
KE: We have a stable dynamic within my group. I point and say we're going over there and then Laurence and I concur about how we're going to get over there as a group. This also helps me assemble the right cast when we work on arrangements together. It's almost like the captain of the ship and then the executive officer. The captain says plot a course for this and then everybody goes the right way accordingly.
AAJ: Was knowing that this gig was going to be recorded in any way intimidating? Did that change the way you did things?
KE: We knew we had only the one set and we knew it was going to go that way when we went into the room.
AAJ: What do you think about those that bootleg live concerts? Do you feel it sabotages albums like this one?
KE: I have real mixed feelings about this. It's almost impossible for it to stop at this point because it's just so easy to pull off. It's offensive when people just sit there and brazenly hold up a camera for the duration of a song. I had one guy with an old school VHS camera in Birdland recording me. In the first place, it's distracting. I can see every body who's filming. Second, it's distracting because I'm trying to perform for those who are paying attention and are present. If you're taking the time to focus your camera or phone, you're not really being present. Your emotions are in a different state of mind. You may be thinking this is a great performance, but you're thinking and not just losing yourself in the experience. That's a shame. It's stealing a little bit too. I'm here performing for you right now and doing the best I can for you. For you to try to make a little postage stamp out of it disseminates it in ways. I'm singing for you, I'm not singing for people in any other town in that moment.
I understand people's motivation and I also take it as a compliment that they think it's worth capturing and that they're excited about the experience. But if you're going to do it you have to be discreet. Don't just hold it up in front of everyone. This makes me feel like I'm in a circus or something. Like you're looking at that strange sideshow thing or whatever. Just be cool. If you really feel like you want to capture it then try to figure it out without distracting other people. Everybody behind you can see your screen... make it so I don't have to pay attention to you doing it. It just bugs me.
KE: The numbers are still so small and the recoup levels are still so great in jazz that it doesn't matter to us. I'm going to make my money from a live performance. That having been said you know, it's definitely made a mess of the music scene and the way it's been structured. The inability of the music industry to twist and turn with the advance of technology is also to blame. It's just as much a problem that the infrastructure and those who run it can't seem to make the boat turn fast enough to keep up with the times. As a rule they also aren't imaginative enough to figure out what the new business model should be. This has hurt plenty of musicians in of itself. But as a rule, it's hurt musicians that would have made royalties. I don't anticipate making royalties until much much later in my career. Have I sold any of my records to make royalties that would be affected? No. So do I worry about it? No.
AAJ: What is the next project on the table for you?
KE: I've got a number of things we've been demoing up and playing on the road that's more of what people expect us to be doing. I've got new lyrics for Joe Zawinul and Wayne Shorter and some more Keith Jarrett tunes. There are some more originals and there's going to be some boogaloo vibes too. We're going to have a lot of fun with it. I only take worthy projects and I try to do the best that I can with them. You want to give an overall shape to your career. Why should this overall shape be a totally straight arrow? It's much more interesting to give twists and turns and to surprise yourself and other people.
AAJ: Is there something you want your listeners to get out of Dedicated to You, something that maybe is more unique to you that should really be touched upon?
KE: What we did here should not be mistaken for an overall course correction of our normal trajectory. This is a special project we're happy to put out because of it's quality. It isn't in any way an indication that we're giving up on our more innovative attempts. I hope you'll listen for the innovation within our interpretation of this great material rather than look for the most outlandish free floating cosmic things we often head for. On all of my records I'm telling a story that takes you from the first to the last composition. People are going to go their own way and that's cool. I hope they pick out what they need and that they find what they need. But I'm always trying to keep them listening. I always hope it's groovy enough and I've given them reason enough to come back and listen more.
Kurt Elling, Dedicated To You: Kurt Elling Sings The Music Of Coltrane And Hartman (Concord, 2009)
Kurt Elling, Nightmoves (Concord, 2007)
Kurt Elling, Man In The Air (Blue Note, 2003)
Kurt Elling, Flirting With Twilight (Blue Note, 2001)
Kurt Elling, Live In Chicago (Blue Note, 2000)
Kurt Elling, This Time It's Love (Blue Note, 1998)
Kurt Elling, Close Your Eyes (Blue Note, 1995)
Kurt Elling, The Messenger (Blue Note, 1997)
Rob Amster/Kurt Elling/Laurence Hobgood by Daniel Sheehan