Brian Blade joined Preston Frazier for a Something Else! Sitdown to discuss Angular Blues, his new recording with guitarist Wolfgang Muthspiel’s trio. As with so many things, the project has been directly impacted by the novel coronavirus pandemic, as plans for a supporting tour were halted.
The drummer, composer and bandleader had likewise planned more shows with Brian Blade and the Fellowship Band. Instead, he’s turning his attention to various new recording projects. “We are doing fine with our social isolation,” Blade tells us. “Hopefully, things will improve soon.” Angular Blues, which also features Scott Colley on bass, was issued on March 20 via ECM Records.
PRESTON FRAZIER: How did you get involved with Wolfgang Muthspiel?
BRIAN BLADE: We met back in the mid-to-late ’90s as part of a faculty that taught at a school in Denmark. It was truly a special opportunity. One of the many great things that came from that experience was the relationship between Wolfgang and me. We understood each other as people and as musicians right away. We started recording together around that time, so we’ve recorded quite a number of albums together.
PRESTON FRAZIER: How does Angular Blues differ from the last outing with Wolfgang Muthspiel?
BRIAN BLADE: The main difference is that Larry Grenadier was involved in the last project we worked on. Now, Scott Colley is the bassist. I’ve played with both before and with Scott, a lot over the last 20 some years. We have a very good relationship. Scott has played with Wolfgang a few times, even when I hadn’t. It gives the two a familiar ground of trust, a feeling you can go anywhere with these other two people. The [2014] album Driftwood was my preceding trio work with Wolfgang. I think [2016’s] Rising Grace was the quintet album that had Larry Grenadier on bass.
PRESTON FRAZIER: Did your approach to the album change since Rising Grace?
BRIAN BLADE: It changed in that we have grown in our trust. The more we play, the greater the musical bond. Wolfgang composed the album but included me in his vision, so that added to the relationship and deepens the musical experience.
PRESTON FRAZIER: How was the album arranged?
BRIAN BLADE: He came with most of his ideas fully formed, though some songs were just sketches. As a trio with Scott, Wolfgang was still open to what we bring to the songs and that unknown chemistry that occurs. It often would reveal things that he hadn’t imagined. That trust was great. We were in Japan playing gigs before we recorded. A lot of the arrangements unfolded in those living moments. That trial by fire galvanizes the musical feel. Wolfgang was very open to the creation of the arrangements by playing live. A lot of the songs originally had lyrics. They were not recorded for the records, but the lyrical text provided some context to the music.
PRESTON FRAZIER: How long did you rehearse?
BRIAN BLADE: I think it was one day of rehearsal before we started performing the songs live. That was great. Scott has such a great feel, and we are all quick studies. The opportunity to play in front of people made the experience more in the moment.
PRESTON FRAZIER: Did Wolfgang present demos to you?
BRIAN BLADE: No, he presented just the sheet music. We would try a song and worked on it until the feel was right. There were not many takes. I prefer music which is formed by musicians in the room, without too much preconceptions. It gives an opportunity for the unknown to happen when players interact.
PRESTON FRAZIER: How did you work out tempos?
BRIAN BLADE: Wolfgang had tempos in mind, and also the lyrical content governs a certain flow that helped to form the story and tempo. The groove has to service the song. It helps when there’s a melodic reference.
PRESTON FRAZIER: So, the lyrics where only used to provide that framework? Is that why they don’t appear on the album?
BRIAN BLADE: I’m not sure. Wolfgang essentially produced the album himself. I think he decided to move forward with an instrumental record. The lyrics did help with the presentation of the music. It took about two days to record the record in Tokyo.
PRESTON FRAZIER: So, what next for the album?
BRIAN BLADE: Unfortunately, our tour has been cancelled. We had several dates scheduled for the spring. Hopefully, we will be able to reconvene later this year.
I am very happy to be part of Wolfgang’s vision. Our relationship continues to grow.
PRESTON FRAZIER: What else do you have planned for 2020? I love your work with Brian Blade and the Fellowship Band, as well as your work with Mama Rosa.
BRIAN BLADE: Brian Blade and the Fellowship Band had just played earlier in the year at the Ground-Up festival in Miami. We had a couple things booked this spring, but have now been postponed. There are also a couple of records we’ve completed which may get released later this year or early next year.
PRESTON FRAZIER: Do you have a plans to continue in a folk-rock vein like the Mama Rosa album?
BRIAN BLADE: I have a lot of songs which fall into that genre which are kind of waiting in the wings. I definitely want to move forward with another recording with the Mama Rosa band featuring that kind of music. That’s the next step after these Fellowship albums come out. Jon Cowherd, my keyboardist in the Fellowship Band who started the band with me in 1988, writes the other half of the songs. We bring the songs to the band, so there is a lot of material I have for various projects. It’s always been a collaborative process with me and the band.
PRESTON FRAZIER: The last I saw you live was on the Black Dub tour, and before that it was with Joni Mitchell. You also recently did the Joni Mitchell 75th birthday album.
BRIAN BLADE: Yes, Jon Cowherd and I did the latest Joni tribute. We also did the 70th birthday tribute, and the one before that. It was an honor to honor Joan. If nothing else happens in my career, I can’t be mad!
PRESTON FRAZIER: Finally, what are your Top 5 favorite albums?
BRIAN BLADE: Joni Mitchell – Hijera; Bobby Hutchinson – Now; John Coltrane – A Love Supreme; The Complete Blind Willie Johnson; and Aaron Copeland – Billy the Kid.
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