STETCH SPECIALIZES IN MUSICAL RENO JOBS
From cartoon themes to jazz standards, pianist adds his own touch
As Martin Mull famously put it, “talking about music is like dancing about architecture.”
John Stetch recently used analogies tied to the dramatic arts, software updates, and building renovations to explain where he’s at musically and why not?
Over the past few decades the Edmonton-born pianist, improviser and composer has brought his creative energies to explore jazz standards and abstractions, classical repertoire, popular television themes, folk music from his Ukrainian heritage and numerous original pieces.
He enjoys penning new tunes but finds improvising on Chopin or Monk equally stimulating.
“Sometimes there’s a need for a new building, but it’s just as important to me to take something older, a standard or something classical, and take that lifelong adventure of finding something different every time. There’s no end to the joy of finding out how to play it, exploring how to be in that zone and deliver it.”
As musical reno work goes, Stetch is an economical contractor.
“The newness isn’t necessarily in the notes. It’s how in the moment you can be with pieces. You might not have to renovate the whole place but just bring in a designer and change some furniture and some colours. Sometimes I think there’s too much emphasis on fixing things that aren’t broken.”
Now in Vancouver after some 25 years living in New York (city and upstate), Stetch had just finished a two-week run of solo workshops for Edmonton Public Schools when we met over coffee. He was hanging out with family in anticipation of leading his new quartet at the Yardbird this Saturday.
You might wonder if his recent relocation to Vancouver has anything to do with the American political climate, but it turns out the move is tied to romance, not Trump.
After teaching at the college level, he has also enrolled in a Masters program in composition at the University of British Columbia, in part to learn more about orchestrating for larger ensembles.
Ironically, the other players in his new quartet Vulneraville for a 10-date tour of Canada this month are all New Yorkers, versatile musicians who “came together accidentally” over the past year or so. He was pleased they expressed an interest in playing his tunes and he hopes to record with the band this fall for what would be his 14th album release.
A quick listen to some recent live tracks from the band reveals an excellent rapport, swinging momentum, minimalist melodies and hard playing. The bandleader says Dutch-born drummer Philippe Lemm learned his pieces without studying charts. Tenor saxophonist Steve Kortyka and bassist Ben Tiberio complete the group.
“The drummer and bassist are especially advanced rhythmically. They’re a younger generation but they’re used to playing even more complex stuff. I can’t remember working with a drummer who made the hard tunes sound so fun and light and easy, and he’s studied Indian drumming, too. My sax player Steve is more open to playing the old-fashioned licks when it’s warranted.”
Stetch sports incredible technical skills himself but his imagination is equally impressive. He sees improvising and composing as close cousins, and says he’s also more open to the jazz tradition.
“I don’t believe in forcing originality. Insisting on a whole new way of doing things can push you into the bizarre. You have to go with what you hear and feel, and the more you know of the tradition, the more confident you’ll get that you could be original in using it.”
At 51, genre-crossing Stetch says the older he gets, the less stylistic boundaries seem relevant.
“It’s getting easier. When I did the TV album (TV Trio, 2008), I remember feeling a bit insecure that maybe people would laugh at me for doing cartoon themes and stuff like that, but now I would easily do a second volume because it’s not about the TV show. You’re taking a well-known melody and making it your own and having fun, using it as a starting point almost to compose. I’m blurring the boundaries even more in a good way. I don’t claim to be an expert in any area, but I’m grabbing what I love and synthesizing them. More and more it’s just all music.”
Stetch promises a mix of new and old material this visit. His quartet plays Yardbird Suite (Gateway Blvd. at 86 Avenue) on Saturday at 8 p.m.
Tickets cost $24 for members, $28 for guests, in advance from Tix On The Square or at the door. Upcoming jazz: Along with names like Dianne Reeves and Donny McCaslin, the TD Edmonton International Jazz Festival announced its full program Wednesday. Check edmontonjazz.com for details.
Before then, notable jazz dates include San Francisco saxophonist Anton Schwartz on Friday, May 5 at the Yardbird with the quintet that has won him considerable radio and print attention. At the same venue, pianist Tom Van Seters leads his all-star Narrative Quintet on Thursday, May 11, while Los Angeles pianist Jon Mayer coleads a quartet with P.J.Perry on May 12-13.
Further into May, look for returning visits from Brazilian singer Fernanda Cunha and a new album release from Edmonton trombonist Audrey Ochoa.
And for those who enjoy the adventurous, that master reedman of the European jazz scene, Germany’s Peter Brotzmann returns May 28, this time in another unusual duo setting with Scottish pedal steel guitarist Heather Leigh. For details visit yardbirdsuite.com.
I don’t believe in forcing originality. Insisting on a whole new way of doing things can push you into the bizarre.