THE BAD PLUS ARE, ODDLY ENOUGH, NOT A BUNCH OF WANKERS

THE VERY IDEA OF A JAZZ GROUP PERFORMING INTERPRETATIONS OF WELL–KNOWN ROCK SONGS IS ENOUGH TO EVOKE IMAGES OF SPINAL TAP “JAZZ ODYSSEY” WANKERY FOR MANY MUSIC FANS. ONE LISTEN TO THE BAD PLUS, HOWEVER, QUICKLY PUTS SUCH BAGGAGE TO REST.
This three piece band (pianist Ethan Iverson, bassist Reid Anderson and drummer David King) has managed to bridge the gap between rock and jazz, garnering critical acclaim and little backlash from either side along the way. While covers of the Pixies, Aphex Twin and Nirvana have drawn in many rock fans, the group’s enduring success is a testament to their skills as both musicians and songwriters. “I’ve never gotten the sense that our audience likes the covers more than the original material,” says Anderson, “The covers are only a small percentage of what we do.”
Iverson goes further, pointing out that covering well–known songs “is a long–standing jazz tradition.” When asked about the group’s choice of songs, Anderson replied, “We like doing covers that are indestructible [and the songs we cover] are beautiful tunes and they’re indestructible.” Iverson adds, “All the covers are pieces we like and like to play.”
The group’s sound can be seen as the product of their musical upbringing. Anderson, King and Iverson all grew up in the Midwest, an area not generally known as a jazz hotbed. Iverson cites “the bits and pieces” that he heard while watching T.V. as his introduction to the genre, while Anderson points to his peers who “were all looking for new music and turning each other onto things.” Though, all members are evidently fans of pop and rock music, Anderson appears to be the one who has taken these styles to heart. He contends, “Rock was the first influence [or me] and remains a powerful influence.” He cites Autechre, Bjork and Led Zepplin amongst his primary influences, sharing space with jazz greats John Coltrane, Keith Jarrett and Ornettte Coleman, whose track “Street Woman” is covered on the trio’s new record.
Following the release of their major label debut These are the Vistas, (their first self–titled album was released on Spanish label Fresh Sound) the Bad Plus received heavy acclaim in both jazz and rock publications, acquiring such labels as “piano trio gangstas” and “post modern jazz iconoclasts.” The group take their press in stride, however. “We really just see ourselves as playing our own music without trying to make it one thing or another,” explains Anderson.The group’s new album, Give, expands on the groundwork laid by These are the Vistas, creating a record that swings and rocks harder than most bands. The trio once again enlisted Tchad Blake to helm the project. Blake is known primarily for his work with artists as varied as Tom Waits, Ron Sexsmith, and Soul Coughing among others. The choice was an obvious one for the band, explains Iverson.“His personal genius, which combines vast studio knowledge, plus unerring instinct” results in what Anderson sums up as “great sound.”
As well as the new album, The Bad Plus have posted three otherwise unavailable tracks on Apple’s iTunes music store. Anderson explains the decision, citing time constraints for their omission from Give, and a desire by their label to have them posted. “Columbia wanted to use them for iTunes and we thought that was a good idea.” He does concede however, that since Columbia owns the recordings, there was little the group could have done had they opposed the move. When it comes to the broader issue of digital downloads, both Iverson and Anderson are equally complacent. “The writing is on the wall. They are part of the future of recorded music,” says Anderson. Iverson adds, “You can’t stop the acquisition of knowledge.”
The Bad Plus are quick to emphasize the importance of the “the group” or “ensemble” when writing and performing. “When you improvise, together, every night, a tribal language develops which is fabulous,” says Iverson. Adds Anderson, “I think a group where everyone is committed to the sound and music of that band can make stronger music than a group trying to support one person’s ideas. There is also a psychological advantage when everyone is playing music that is theirs.”
These ideals are reflected in the band’s writing process. Typically, each member will write individually, then bring the completed songs to the rest of the group. “From there, the music takes on a life of its own as we all make up our own parts and live with the tune,” explains Anderson.
Of course, ultimately, a band as dynamic as The Bad Plus must be seen live, where each member’s musicianship is moulded into its full sonic force. While the group feels that their studio albums reflect their live sound (almost every track on Give was recorded on the first take, with as few overdubs as possible), an “authorized bootleg” was released in 2002. Iverson is quick to point out however, that the record “is an antique since we play so much better now.” He defends the band’s guerrilla style of recording explaining, “We are in–the–moment players, not feeling the time is right yet to do a carefully assembled studio date taking weeks and months.” When they do, watch out. •
Luckily for you, The Bad Plus are playing twice during the Vancouver International Jazz Festival. Catch them with Jagga Jazz at the Commodore on June 26, or solo at Performance Works on Granville Island on June 27.
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