12. Leroy JenkinsSpace Minds, New Worlds, Survival of America
Yeah man, it’s so good. And it moves so many different places. The way he writes for an ensemble, super amazing. But also, his solo violin work. I had the great pleasure of being able to see him. I used to work at a venue in Chicago, called the Empty Bottle. And there was a weekly improvisers series that was put together by John Corbett and Ken Vandermark. John had booked a very intimate gig for Leroy Jenkins. And it was during an afternoon. I was bartending that day, so I was sitting behind the bar, very quietly serving drinks, but also listening to Leroy play. I got to meet him very briefly that day, and never again, but it was epic. Just being in that space with him and that violin and a small group of people was really something else. You know, I use the word thoughtful a lot. But it really was. For me, it was very emotional, being able to see him perform solo, just pared down to the violin. And also his record Solo Violin is one of my favourites. On Space Minds, compositionally he just takes it to another zone. I really love that record. And there’s something that’s very forward leaning or almost futuristic about it.
That futuristic feel is something something that runs through quite a few of the jazz records you’ve chosen. Is that kind of approach a touchstone for your own work?
My relationship to these records comes from my own particular practice. The fact that I have an electroacoustic practice and utilise synthesisers or electronics or cut up techniques compositionally, I think that definitely factors into it.
