‘There’s a real synergy that develops when you’re regularly playing the same music with the same people.’
Having interviewed Alex Clarke last year ahead of her playing Steamin’ Jazz Club, notice of her return visit made the perfect opportunity to catch up with her once again. This time though, the gig on Thursday 10th September, will see the penultimate performance of her latest album ‘Out of the Woods’ alongside pianist David Newton, bassist Dave Green, and drummer Steve Brown. So, with that in mind, let’s delve into why now was the right time to pay homage to the inspirational Phil Woods and reflect on what the accompanying tour has been like.
Hi Alex, thanks for taking the time to chat once more, before we get into main questions, why the title ‘Out of the Woods’?
Essentially, it’s a direct celebration of saxophonist Phil Woods. He’s been a massive inspiration to me since I first started playing, so it felt like the right time to properly recognise his significance. I was keen for it to not be branded as a ‘tribute’, as I know these can be quite divisive, so wanted it to feel like a tasteful homage to him rather than pastiche, hence I opting for a more discreet nod to him. I am fully aware that I will never sound like Phil Woods, nor am I aiming to copy him.
What does the album say about where you are at as a musician now compared to your debut release in 2022?
Making an album always serves as a snapshot in time of where you’re at with your playing. My playing has definitely evolved since 2022, and while I used to play both alto and tenor equally, I now consider myself to be primarily an alto player so wanted to record an alto-only album to reflect that. I’ve also been enjoying writing more recently, so wanted to be able to feature some original compositions – ‘Out of the Woods’, ‘I Remember Phil’, and ‘As You Were’ – whilst still staying true to my bebop & American Songbook roots.
Making an album always serves as a snapshot in time of where you’re at with your playing. My playing has definitely evolved since 2022, and while I used to play both alto and tenor equally, I now consider myself to be primarily an alto player so wanted to record an alto-only album to reflect that. I’ve also been enjoying writing more recently, so wanted to be able to feature some original compositions – ‘Out of the Woods’, ‘I Remember Phil’, and ‘As You Were’ – whilst still staying true to my bebop & American Songbook roots.
The sound of ‘World on a String’ is strikingly contrasting to the other tracks. How did the recording processes of this differ to the rest of the album?
This track on the album is from ‘American Songbook I’ by the Phil Woods Quintet and I’ve always loved the close-part harmony. It’s also a fun parallel with me that Phil Woods played clarinet on it, even though he wasn’t primarily a clarinettist. The process meant I recorded the saxophone live as part of the full take, then overdubbed the clarinet part straight after. In all honesty, I had slight reservations about doing this in case it was considered cheesy! But, then I just thought, ‘Why not take advantage of being able to do something in the studio that you’re typically not able to do live?’
This track on the album is from ‘American Songbook I’ by the Phil Woods Quintet and I’ve always loved the close-part harmony. It’s also a fun parallel with me that Phil Woods played clarinet on it, even though he wasn’t primarily a clarinettist. The process meant I recorded the saxophone live as part of the full take, then overdubbed the clarinet part straight after. In all honesty, I had slight reservations about doing this in case it was considered cheesy! But, then I just thought, ‘Why not take advantage of being able to do something in the studio that you’re typically not able to do live?’
‘Maintaining spontaneity and freshness during gigs is the real beauty of playing jazz.’
The tour has seen you perform with the same line up as the album recording. Why was it so important for you that this was the case?
In short, it’s because they are my favourite people to play with and whether I’m in the studio or on a gig, they are always my very first call! It is really important to me to try to have a consistent lineup, as there’s a real synergy that develops when you’re regularly playing the same music with the same people. Playing together consistently creates a form of musical telepathy that definitely leads to better music-making on the bandstand.
In short, it’s because they are my favourite people to play with and whether I’m in the studio or on a gig, they are always my very first call! It is really important to me to try to have a consistent lineup, as there’s a real synergy that develops when you’re regularly playing the same music with the same people. Playing together consistently creates a form of musical telepathy that definitely leads to better music-making on the bandstand.
So have there been any unexpected musical moments when performing the tracks that you couldn’t have imagined when you recorded them?
As we’ve all become more familiar with the material, the music has naturally evolved and deepened across the tour. We’re definitely taking some tunes in new directions, taking more creative risks, and listening more. Maintaining that spontaneity and freshness during gigs is the real beauty of playing jazz.
As we’ve all become more familiar with the material, the music has naturally evolved and deepened across the tour. We’re definitely taking some tunes in new directions, taking more creative risks, and listening more. Maintaining that spontaneity and freshness during gigs is the real beauty of playing jazz.
And lastly, with you coming to the end of the tour, what is the thing you’re most proud of looking back on it?
I feel genuinely privileged to be sharing the bandstand with such phenomenal musicians every night. As someone who works a lot as a sideman in so many different contexts, I find it incredibly rewarding to instead step into the role of bandleader and have that creative freedom to do ‘my thing’. As you can imagine, putting together a tour takes a lot of work, but I really enjoy the organisational challenge and then reaping the rewards of playing fun music with wonderful musicians. Looking back on it all, that sense of accomplishment feels very special.
I feel genuinely privileged to be sharing the bandstand with such phenomenal musicians every night. As someone who works a lot as a sideman in so many different contexts, I find it incredibly rewarding to instead step into the role of bandleader and have that creative freedom to do ‘my thing’. As you can imagine, putting together a tour takes a lot of work, but I really enjoy the organisational challenge and then reaping the rewards of playing fun music with wonderful musicians. Looking back on it all, that sense of accomplishment feels very special.
Thanks Alex Clarke for chatting with Listen to Discover
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