Bob Schlesinger Comes Down to ‘Earth’

It’s been seven long years since pianist Bob Schlesinger first began working on his long-anticipated debut as a leader, Falling From Earth.

But in early August, the toil paid off when this astonishing album, featuring an all-star lineup featuring legendary guitarist Mike Stern, former Bill Evans bassist Eddie Gomez, in-demand drummer Billy Drummond, as well as bassist Kevin Axt, drummer Steve Hass and others, was released to the public (though still not available on Spotify).

Originally scheduled for release in 2020 before the COVID-19 pandemic shut down the world, Falling From Earth was initially recorded in two separate sessions, one at Sear Sound in New York City and the other at Coupe Studios in Boulder, Colorado. But as things came to a halt amidst the lockdown, Schlesinger — along with engineer/producer John March — began refining a singular vision between the two sessions in a way that recalls how Miles Davis and Teo Macero put together Bitches Brew.

The end result is one of this year’s most exciting jazz titles, a seamless blend of trio jazz and electric fusion, and one which we happily discuss with Bob in this exclusive interview.

For Schlesinger, releasing his debut as a leader at 68 carries profound significance.

“In a world obsessed with youth and overnight success, there’s something to be said for creating art in one’s third act,” he reflects.

Pick up a copy of Falling From Earth on his website.

 

Please tell me about where the title came from.

The title Falling From Earth popped into my head years ago, and I love its delicious ambiguity. The phrase occurred to me again when I chose my brother’s photograph for the album cover. He’s a well-known fine-art photographer and multimedia sculptor, and the photograph is part of the permanent collection of the Museum of Modern Art in New York. For me, it feels almost like a Zen koan: If you were to fall FROM earth, where would you land?

 

How did you first get together with Mike Stern?

After my father moved to Manhattan in 1988, I started making pilgrimages to Mike’s weekly residency at the 55 Bar. I heard him dozens of times over the next 30 years, and we would sometimes chat after he finished a set. In 2018, I received a grant to record a trio with Eddie Gomez in NYC. I was working on my tune, “Left Field,” which I had composed for my quartet with guitar. Something didn’t seem right. I reached out to Mike to see if he’d consider joining us in the studio. I was delighted when he said yes. As pre-production continued, he agreed to join me on three more tunes. Later that year, Mike came to Boulder in the middle of his West Coast tour, and we recorded for two more days.

 

What was the songwriting process like with Mike? 

The piece Mike and I collaborated on was “Easy Offramp.” In preparation for his Boulder visit, I was inspired by Miles Davis’ Bitches Brew, and I sketched some harmonic structures that allowed him to freely improvise. Eighteen months later, sequestered by the pandemic, my producer John March and I began working on the results of over 30 minutes of jamming. We extracted ideas to create opportunities for long-form improvisations. We wrote countermelodies and orchestration. Two years later, Mike re-cut his parts and solos in his home studio. It was a collaborative, improvisatory, and iterative process, with Mike’s melodies at the center of this now 13-minute piece. A track of this length makes demands of the listener, and we strove to make it as beautiful as possible so they could enjoy the journey. George Duke, the pianist and producer, was asked “How do you know when a piece is finished?” He replied, “I have to either laugh or cry. Otherwise I keep working.” His motto became my touchstone, and I hope listeners agree that it paid off.

When did you first discover Mike Stern as a listener?

I first heard Mike in the late 1980s on the Michael Brecker album, Don’t Try This at Home. My band at the time played his composition from that album, “Suspone.” Mike and I also recorded it together on Falling From Earth. The piece is a contrafact on “Rhythm Changes,” with a very twisted melody. I was honored that he was willing to revisit it with me. He has never recorded it on one of his own albums.

 

How did you connect with the great Eddie Gomez?

I first met Eddie Gomez in 2009 at a concert honoring my mentor, Ted Alexander. I was almost too afraid to ask if we could record together sometime, but he graciously said yes! Every time he came to town after that, he would ask, “When are we recording?” The opportunity finally came when Pathways To Jazz awarded me a grant to record a trio with him in New York.

 

How about Billy Drummond? I’m a big fan of his work on Andrew Hill’s Dusk.

Eddie recommended Billy — they have developed a fine-tuned rapport over the years. What a great player!!

 

What inspired you to tackle Bob Dylan and how did you land on “It’s Alright Ma” as the song to reinterpret?

When I was prepping for the session, I woke up with the song in my head, which was odd because I hadn’t heard it in years. That prompted me to seek out different versions of the tune, and I was inspired by Billy Preston’s gospel-infused rendition. Dylan’s own set at the Newport Folk Festival contributed a Mississippi blues flavor. My arrangement then became a reimagining that incorporates the blues and gospel, with some colors from the ECM catalog. Eddie plays a brilliant solo, and Billy lays the groove down. By the way, my brother and I created a video of the song, which combines studio footage with his multimedia films. You can find it on my website. BobSchlesingerJazz.com.

 

VIDEO: Bob Schlesinger “It’s Alright Ma (I’m only bleeding)”

 

What is it about Dylan’s music that’s conducive to jazz?

The jazz tradition is built on reinterpreting popular songs. The verse in “It’s Alright, Ma (I’m only bleeding)” has a strong rhythmic propulsion and a chord progression rooted in the blues. The chorus has a strong melody and its own distinct chord progression. These elements inspired me.

 

Please tell me about your history as a fan of Thad Jones and what inspired you to choose “A Child Is Born” to cover.

“A Child Is Born” has moved me since I first heard it, and it often shows up on my trio setlist. Years ago, during a solo piano gig, I began experimenting with a samba groove in 3/4 time. Over the decades, the arrangement evolved. At the Ted Alexander tribute in 2009, I played it with Eddie, asking him to bow the melody as a rubato introduction, which is how we played it on the album. I love the song as much now as I did years ago.

 

What prompted you to oscillate between the trio and fusion formats on this album instead of making two separate works?

The album began in 2018 as a trio recording; Mike was added one tune at a time during the planning. Two months after the initial recording in NYC, he came to Boulder to record more tracks. Then, of course, we all had to make it through the pandemic. The ensuing downtime allowed us to develop some of the Boulder tracks that were based on studio jams into finished long-form pieces (“Bait Tone Blues” and “Easy Offramp”). The CD and downloads are available now. The album will be released soon on double vinyl, with the trio pieces on their own side. The vinyl will initially only be available from my website.

 

I’m really into “Bait Tone Blues” and your work with Steve Hass and Kevin Axt here. How did that composition come together?

I’m happy to hear that you are drawn to “Bait Tone Blues.” While preparing for the Boulder sessions, Mike suggested we record this composition. In the studio, we tried several approaches. Finally, it was getting late, and we jammed on his tune, playing the melody on cue. While quarantined, John and I revisited the track, and over time the piece transformed to the point that it needed a more interactive rhythm section. We brought in Steve and Kevin, who are friends of John’s, to update the track, similar to what we did on “Easy Offramp.” Both are consummate pros, highly creative, great collaborators, and an absolute joy to work with. The technology we used enabled me to be in Boulder, Steve and Kevin in LA, and John in Spain while they tracked. Amazingly, it sounds like a live performance, as if we are all playing together in the same place. It took a lot of work to make it happen, but it was worth it because it’s such a beautiful improvisational landscape.

This is your debut album as leader at age 68. What has this experience been like for you?

I have been a professional musician for 50 years. I co-led three bands under various names and supported myself as a freelance musician, playing a range of styles as required (while also securing as many jazz gigs as possible). However, a trio album had been a long-held dream that had been foiled by a series of setbacks. Creating this album has been very rewarding. I believe we have created something truly beautiful, which has been my life’s goal: to bring beauty into the world. A friend once told me that the answer to any question is no… unless you ask. I have had help and encouragement on my path, for which I am very grateful. I could not have achieved this goal without the constant support of my friend and producer, John March. And I received a big vote of confidence and some sage advice from Chick Corea’s former manager, Bill Rooney, whom I had befriended a decade earlier. I am also deeply indebted to the musicians who helped me realize this dream.

 

What can you tell those unfamiliar with the Colorado jazz scene about what it is like?

Denver has a vibrant jazz scene with a long history. I recently had my album release concert at Dazzle, one of the top venues in the region. There are also other high-quality venues here. KUVO, an internationally recognized jazz station, has provided me with significant support. There are three universities near Denver that have well-respected jazz programs, including my alma mater, the University of Colorado. This means that there are nationally recognized educators training a fresh crop of excellent young players. My late mentor, Ted Alexander, taught over 800 students during his many years in Denver.

 

Are there plans to take Falling From Earth on the road?

Bringing this album to life has been a dream come true. As part of this journey I had the good fortune to be able to record with jazz icons Mike Stern and Eddie Gomez. I am making plans to tour with my trio, and our performances will include some of the tracks from this album. Please check my website for updates.