CLARK TRACEY – Keeper Of The Flame
With a distinguished thirty five year career
behind him, Clark Tracey it is fair to say is a veteran of the UK scene, and it
must be said that jazz in this country has frequently been all the better for
his contribution to it. Whether heard as a mainstay of Stan Tracey’s various
aggregations, or as a leader in his own right (although this seems to have been
on a back burner for a number of years), his presence is felt in whatever situation
he finds himself in with his work from behind the kit never less that
uplifting. It now seems almost inevitable that as the UK’s premier straight
ahead drummer that he is being tagged as a keeper of the flame, and with his
talent for spotting recruiting some of the brightest young players for his
band, that he is also being dubbed the Art Blakey of British jazz.
The above comments may indicate that perhaps the drummer may be somewhat constricted by typecasting (for which I have inadvertently contributed to), along with the notion that his music is retro in nature, however a cursory listen to his latest album Meantime… with his new quintet proves conclusively that whilst the music emanates directly from the hard bop tradition, their playing is absolutely of the moment.
However, the new quintet and recording has been sometime in the making with the last recording under the drummers own name, Current Climate, was released some five years ago, so I begin by asking Clark why the long gap between recordings? “I didn’t have a band ready to record is the simple answer. My latest group has been together a little over two years and I felt now was the time to take it into the studio and gain wider recognition with it.”
The above comments may indicate that perhaps the drummer may be somewhat constricted by typecasting (for which I have inadvertently contributed to), along with the notion that his music is retro in nature, however a cursory listen to his latest album Meantime… with his new quintet proves conclusively that whilst the music emanates directly from the hard bop tradition, their playing is absolutely of the moment.
However, the new quintet and recording has been sometime in the making with the last recording under the drummers own name, Current Climate, was released some five years ago, so I begin by asking Clark why the long gap between recordings? “I didn’t have a band ready to record is the simple answer. My latest group has been together a little over two years and I felt now was the time to take it into the studio and gain wider recognition with it.”
So what was the
catalyst to put together a new band and one again take on the responsibilities
of leadership? “I was originally encouraged to start a new band when I first
heard Reuben James playing piano with Abram Wilson. Looking for other young talented players my
mind turned to saxophonist Chris Maddock who I had first heard at the
Birmingham Conservatoire, where I teach.
Likewise, I had the opportunity to play with bassist Daniel Casimir
there in his final year and enjoyed his style a lot. I’d played with trumpeter Henry Armburg
Jennings a few times previously and always had it in the back of my mind to put
him in a band one day. When Reuben got
swallowed up in a successful commercial group at the beginning of this year, I
once again turned to the Conservatoire and Harry Bolt, still in his third year,
stood out as a worthy replacement on piano.”
What about the repertoire? How do you select material for quintet? “I’ve approached it in different ways with different groups I’ve led, but on this occasion I picked some material that worked well in my other groups and added some new compositions of mine as well as some tunes that I always had a hankering to play. The next stage of the band will be to introduce more original material from the guys, now that we have become better acquainted with each other’s playing.”
Good material is good material, as I sure everyone agrees, with the best compositions becoming timeless classics. It is nice to therefore nice to see that the new quintet have chosen to revisit the Jimmy Duecher tune ‘Suddenly Last Tuesday’ that was featured on Clark’s debut album with saxophonist Jamie Talbot and Guy Barker on trumpet. So has this been the band book throughout, or specifically brought out of retirement for the new album?
“I’ve played that tune in a few groups I’ve led but putting it on the new CD was a decision I took bearing in mind that it’s been thirty years since I first recorded it. I felt it was time it saw the light of day again. It’s an exhilarating and tough tune to play and these guys absolutely nail it.”
What about the repertoire? How do you select material for quintet? “I’ve approached it in different ways with different groups I’ve led, but on this occasion I picked some material that worked well in my other groups and added some new compositions of mine as well as some tunes that I always had a hankering to play. The next stage of the band will be to introduce more original material from the guys, now that we have become better acquainted with each other’s playing.”
Good material is good material, as I sure everyone agrees, with the best compositions becoming timeless classics. It is nice to therefore nice to see that the new quintet have chosen to revisit the Jimmy Duecher tune ‘Suddenly Last Tuesday’ that was featured on Clark’s debut album with saxophonist Jamie Talbot and Guy Barker on trumpet. So has this been the band book throughout, or specifically brought out of retirement for the new album?
“I’ve played that tune in a few groups I’ve led but putting it on the new CD was a decision I took bearing in mind that it’s been thirty years since I first recorded it. I felt it was time it saw the light of day again. It’s an exhilarating and tough tune to play and these guys absolutely nail it.”
Looking back at Tracey’s small groups over the years, there
has been no shortage of young talent that have passed through the ranks, along
with Jamie Talbot and Guy Barker, pianist Steve Melling was also in that first
quintet back in the mid-eighties, and since then trumpeters Gerard Prescencer
and Mark Armstrong have graced the band. This knack for finding and encouraging
new talent over the years, and giving them the opportunity to gain some
valuable experience playing in his bands is now giving the drummer the
reputation of being the Art Blakey of British Jazz. So is recruitment of up and
coming young players a deliberate policy on his behalf? “It’s turning into that
concept as the years roll by. As I’m
getting older, like policemen, the band is getting younger. I’ve never objected to comparisons to Art
Blakey in that respect although it’s only been the last 15 years or so that
I’ve purposely booked musicians younger than myself. I hope it has been some kind of advantage to
the guys in terms of exposure and I suppose, being 17 when I began, I can appreciate
the benefits of rubbing shoulders with more experienced players.”
There are many great young musicians coming through schools and colleges who have tremendous ability, but what about opportunities for them to hone their skills in the time honoured tradition, on the band stand. Are there many opportunities out there to get gigs, and get that valuable playing experience? “I don’t think there are the same opportunities for many young musicians that I had, although media exposure for their age group is more so than when I started. You had to earn respect from your peers before being hailed as the next best thing. My generation went straight on the road and gained experience by working with our elders, whereas many college graduates turn immediately to teaching jobs to help support their income. The money is probably worse than when I was that age and there are fewer gigs available for them from what I can make out. I was extremely fortunate to join my dad’s groups from such an early age – it was a case of sink or swim, so I endeavoured. But other than that side of my work, I was very busy as a sideman and often worked with some great visiting Americans, an opportunity which is non-existent these days. I was able to set up 20 date tours with my bands and I was also offered some incredible work abroad, again something that doesn’t occur now.”
As well as hiring the young guns to gain experience gigging with his band, the drummer is also involved in Jazz Education in a more direct capacity, with a role at the Birmingham Conservatoire. Can you tell us a little more about your involvement in the education side of the music? As Clark explains “ When work began to slacken I bit the bullet and looked for work in education, so for several years I worked in schools (ages 11-17), some of which were terrible, but eventually the job in Birmingham offered itself, after 5 years as an external examiner there. I’ve been there three years now and finally feel like I have students I can impart my knowledge and experience on to. I also teach privately and sometimes teach at the Purcell School of Music in Bushey where I have students looking to go on to jazz courses in college. I was commissioned to write Exploring Jazz Drums by Schott Publishing a few years ago, giving me the opportunity to put it all into words for the first time.
In order to maintain their profile, many musicians now choose to run their own record labels thus enabling them to control not only what is released but when. Tracey is no different in that respect having successfully run his own imprint for a number of years. He currently runs two record labels, TentoTen Records and Resteamed Records. So who is buying the albums and are jazz fans are still ‘collectors’ at heart preferring a tangible product such as a CD or is the market moving more towards downloads? “Most of our CD sales are still on gigs I think. As the market turns to downloads on a broader scale, it’s interesting that vinyl is making a comeback. Certainly my generation and older still get romantic about reading a cover and holding the product. Our two record companies are in the process of making all our stock available as downloads too as a younger market will only download to an extent. We shall have to wait and see how well both sales compare. One great advantage with downloads is their global availability. Attempts to find CD distributors abroad have been very hard work since we began.”
Judging from Clark’s comments thus far it appears that he has seen significant changes in the working life of jazz musician. With gigs harder to come by, Tracey has also turned promoter and in 2010 revived Herts Jazz Club and helps to promote touring groups. So how does he find time in his busy schedule to take on this time consuming but vital role? “It’s a lot of work but it isn’t constant. I programme in 3 month seasons so I have to book bands and prepare brochures for each time. That is time consuming in itself but I have a small and loyal team who help me run the club each week, so it could easily operate in my absence now. In fact I couldn’t do it without their help. I’m not that together! It’s been a lot of fun so far and I believe more musicians could promote gigs themselves to help keep the scene alive. There really is no shortage of excellent groups looking for work and it’s a privilege to promote around 40 gigs a year and support my fellow musicians as well as offer the local community the best jazz we can provide. I do have the chance to play there myself often but we are keen to promote touring bands as well. Our festival in September will be our fourth and is a tremendous buzz to operate.”
We talked earlier about the players getting younger, but what about the audiences? “It depends where you find yourself working as to the age range. I play to all age groups around the country. It seems some venues are finding it difficult to introduce a younger audience to this music, while other venues are an attraction to everyone. Jazz isn’t about demography but it now appears to play a role in the scheme of things, especially where subsidy is concerned. One interesting thing I’ve noticed is that in my 36 years as a professional, while the question ‘What happens when they’re not around anymore?’ is pondered today by many, it was also being pondered back when I began, so the turnover must be there. The bigger question is how we can encourage the media to support this country’s talented jazz musicians without watering the music down in a vain attempt to attract a wider audience. Any British jazz musician who has performed in festivals and clubs abroad will have noticed a stark contrast in the way artists are supported and presented there, enabling a wider and more respectful audience to show an interest. The music is the most important thing and always will be, not the hype. I feel there is a division, created by the media in the last 20 years or so, in British jazz music. Effort to turn guys into megastars in order to sell thousands of records is a bit passé to me now. It’s a shame some promoters have followed this line of thinking too. They’re turning their backs on their hardcore jazz followers and some cities, if not counties in some cases, have suffered as a result. The truth is that most of our best musicians are quite simply ignored and that’s a crime.”
It is obvious from the comments throughout this interview that Tracey has a deep and passionate commitment to the music he loves. Not just acknowledging the changes over the years since he turned professional he is actively working to help keep the music alive and well, both in giving the next generation the opportunity to play in his bands and also tirelessly and selflessly in the promotion of others in the running of the Herts Jazz Club and the also the annual Hert Jazz Festival. Despite this busy working schedule, remarkably Clark is also finding time to write another book. “Following my dad’s death in December 2013, I managed to console myself by beginning to write his biography. Stan kept all his diaries from the age of 16, his first gig, and it’s been some comfort to be able to piece his fascinating career together, along with the dozens of interviews he gave. He was a unique musician who had a unique career and I’m obviously intensely proud of his achievements. I’m hoping to have it finished by the end of the year and will be looking to publish it by late 2015.”
There are many great young musicians coming through schools and colleges who have tremendous ability, but what about opportunities for them to hone their skills in the time honoured tradition, on the band stand. Are there many opportunities out there to get gigs, and get that valuable playing experience? “I don’t think there are the same opportunities for many young musicians that I had, although media exposure for their age group is more so than when I started. You had to earn respect from your peers before being hailed as the next best thing. My generation went straight on the road and gained experience by working with our elders, whereas many college graduates turn immediately to teaching jobs to help support their income. The money is probably worse than when I was that age and there are fewer gigs available for them from what I can make out. I was extremely fortunate to join my dad’s groups from such an early age – it was a case of sink or swim, so I endeavoured. But other than that side of my work, I was very busy as a sideman and often worked with some great visiting Americans, an opportunity which is non-existent these days. I was able to set up 20 date tours with my bands and I was also offered some incredible work abroad, again something that doesn’t occur now.”
As well as hiring the young guns to gain experience gigging with his band, the drummer is also involved in Jazz Education in a more direct capacity, with a role at the Birmingham Conservatoire. Can you tell us a little more about your involvement in the education side of the music? As Clark explains “ When work began to slacken I bit the bullet and looked for work in education, so for several years I worked in schools (ages 11-17), some of which were terrible, but eventually the job in Birmingham offered itself, after 5 years as an external examiner there. I’ve been there three years now and finally feel like I have students I can impart my knowledge and experience on to. I also teach privately and sometimes teach at the Purcell School of Music in Bushey where I have students looking to go on to jazz courses in college. I was commissioned to write Exploring Jazz Drums by Schott Publishing a few years ago, giving me the opportunity to put it all into words for the first time.
In order to maintain their profile, many musicians now choose to run their own record labels thus enabling them to control not only what is released but when. Tracey is no different in that respect having successfully run his own imprint for a number of years. He currently runs two record labels, TentoTen Records and Resteamed Records. So who is buying the albums and are jazz fans are still ‘collectors’ at heart preferring a tangible product such as a CD or is the market moving more towards downloads? “Most of our CD sales are still on gigs I think. As the market turns to downloads on a broader scale, it’s interesting that vinyl is making a comeback. Certainly my generation and older still get romantic about reading a cover and holding the product. Our two record companies are in the process of making all our stock available as downloads too as a younger market will only download to an extent. We shall have to wait and see how well both sales compare. One great advantage with downloads is their global availability. Attempts to find CD distributors abroad have been very hard work since we began.”
Judging from Clark’s comments thus far it appears that he has seen significant changes in the working life of jazz musician. With gigs harder to come by, Tracey has also turned promoter and in 2010 revived Herts Jazz Club and helps to promote touring groups. So how does he find time in his busy schedule to take on this time consuming but vital role? “It’s a lot of work but it isn’t constant. I programme in 3 month seasons so I have to book bands and prepare brochures for each time. That is time consuming in itself but I have a small and loyal team who help me run the club each week, so it could easily operate in my absence now. In fact I couldn’t do it without their help. I’m not that together! It’s been a lot of fun so far and I believe more musicians could promote gigs themselves to help keep the scene alive. There really is no shortage of excellent groups looking for work and it’s a privilege to promote around 40 gigs a year and support my fellow musicians as well as offer the local community the best jazz we can provide. I do have the chance to play there myself often but we are keen to promote touring bands as well. Our festival in September will be our fourth and is a tremendous buzz to operate.”
We talked earlier about the players getting younger, but what about the audiences? “It depends where you find yourself working as to the age range. I play to all age groups around the country. It seems some venues are finding it difficult to introduce a younger audience to this music, while other venues are an attraction to everyone. Jazz isn’t about demography but it now appears to play a role in the scheme of things, especially where subsidy is concerned. One interesting thing I’ve noticed is that in my 36 years as a professional, while the question ‘What happens when they’re not around anymore?’ is pondered today by many, it was also being pondered back when I began, so the turnover must be there. The bigger question is how we can encourage the media to support this country’s talented jazz musicians without watering the music down in a vain attempt to attract a wider audience. Any British jazz musician who has performed in festivals and clubs abroad will have noticed a stark contrast in the way artists are supported and presented there, enabling a wider and more respectful audience to show an interest. The music is the most important thing and always will be, not the hype. I feel there is a division, created by the media in the last 20 years or so, in British jazz music. Effort to turn guys into megastars in order to sell thousands of records is a bit passé to me now. It’s a shame some promoters have followed this line of thinking too. They’re turning their backs on their hardcore jazz followers and some cities, if not counties in some cases, have suffered as a result. The truth is that most of our best musicians are quite simply ignored and that’s a crime.”
It is obvious from the comments throughout this interview that Tracey has a deep and passionate commitment to the music he loves. Not just acknowledging the changes over the years since he turned professional he is actively working to help keep the music alive and well, both in giving the next generation the opportunity to play in his bands and also tirelessly and selflessly in the promotion of others in the running of the Herts Jazz Club and the also the annual Hert Jazz Festival. Despite this busy working schedule, remarkably Clark is also finding time to write another book. “Following my dad’s death in December 2013, I managed to console myself by beginning to write his biography. Stan kept all his diaries from the age of 16, his first gig, and it’s been some comfort to be able to piece his fascinating career together, along with the dozens of interviews he gave. He was a unique musician who had a unique career and I’m obviously intensely proud of his achievements. I’m hoping to have it finished by the end of the year and will be looking to publish it by late 2015.”
For more
information visit www.clarktracey.com
Also find the music at TentoTen Records and Resteamed Records Downloads can also be purchased from www.givemejazz.com Details about Herts Jazz can be found at www.hertsjazz.co.uk & www.hertsjazzfestival.co.uk |