Jazzman toys with classics
Six-time Juno nominee plays Chamberfest next week
Pianist John Stetch has taken a roundabout route to performing at Chamberfest this year.
The Edmonton native grew up immersed in Ukrainian folk music, and then began his college studies as a jazz saxophone student. But the lure of piano was too great, and he switched instruments.
Eventually, he switched countries, moving to New York in 1993, where he worked with such cream-of-the-crop jazz talents as Charlie Haden, Seamus Blake and Rufus Reid.
Meanwhile, his love for classical music grew, provided that he could approach the works of Bach, Chopin, Shostakovich and others his way. His strikingly creative and accomplished album of jazzinflected classical music, Off With The Cuffs, was nominated for the best instrumental album of the Juno Award in 2015. He has five other Juno nominations.
After more than 20 years of living in the U.S., Stetch, who turned 50 last year, recently moved to Vancouver.
He discusses the moves that he’s made physically and musically.
Q Congratulations on your move back to Canada. Why did you move to Vancouver?
A My girlfriend is there, and I’ve been thinking about moving back for a few years because I like the country more and feel that a lot of things are just better.
Q How do you look back on your time in the U.S.?
A I’ll be going back every month or two for short trips and feel that I can accomplish what I need to there without having to be there every day. But yes, I’ll miss the high-level musicians who absolutely put music ahead of everything. In smaller places there isn’t the urgency and you always hear things like, ‘Oh sorry, the family picnic is that day so I can’t jam.’
Q You came to piano late, and to classical music late. What happened?
A I disliked most classical music when I was young but then I heard Glenn Gould’s recordings of various Bach, particularly the French and English Suites and Partitas … and I was addicted. From then I went to Mozart, Beethoven, Debussy, Stravinsky, Prokofiev, Bartok and Shostakovich.
Q How does a jazz pianist like you work with classical material?
A I don’t have much repertoire under my fingers at all, but I listen and analyze a lot and practice ideas from these people. I used to be frustrated in that I loved this music but wondered what I should do with that since my usual stomping grounds are jazz venues. Then, a few years ago, I toyed with rearranging some well-known pieces. I didn’t think any of them were very good until I started perfecting them and having them evolve a bit in public, and getting lots of positive feedback.
Q How big is the gulf between jazz and classical music?
A It’s absolutely ridiculous how separate the classical and jazz circles are. One day in the future, pianists will just know a bit of everything. Some will specialize in certain areas, but to me, it’s like, I know a few bebop tunes, a few standards, compose some originals, and know a few standards from 300 years ago. But it does take time to be good at everything, especially for someone like me who started piano very late at 18! phum@postmedia.com twitter.com/peterhum