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Studio

lisa hilton transparent sky album overlaid on an image of lisa on the beach

Q & A For Transparent Sky

August 17, 2021 by Lisa Hilton
Billie Holiday, Q&A, Studio, Transparent Sky

Q & A with composer/pianist/band leader, Lisa Hilton on her new release TRANSPARENT SKY out Sept 3, 2021 with bandmates Rudy Royston/drums and Luques Curtis/bass

Q.  You, Rudy & Luques recently came out with the acclaimed 2020 release, More Than Another Day. How soon after that were you back in the studio for Transparent Sky?

A.  We recorded More Than Another Day in August 2020 and Transparent Sky in May 2021- so about nine months apart. We all had a bit of extra time on our hands since there has not been any touring, so it was wonderfully normal to be playing again!  I felt incredibly happy to be together and we had a much better experience than we did last August when we were anxious and awkward wearing masks and staying apart.  This year, post vaccines, we could be ourselves and enjoy things.  I have been very thankful that More Than Another Day has been so successful – one of the top recordings at Jazz Week so far for 2021 – but it was a bit stressful to create.  Transparent Sky is very uplifting and has a lot of energy, so we hope listeners will like this one too.

Q.  Is there a concept behind the title?

A.  I think the title refers to how many of us are feeling right now:  If a sunny sky connotes a good future, and a dark sky represents where humanity was in 2020, Transparent Sky has a sense of taking the moment for what it is – and to cherish what we can here and now.  We don’t have any promises for tomorrow, do we? Today looks pretty good though.

Q.  There’s a lot of different kinds of swing and movement on this album – was that intentional?

A.  I always let the music emerge as I compose: I don’t know what I will create and I don’t try and force a direction or try to control it.  What developed was a LOT of movement and richer chords and harmonies this year – which makes sense when you consider how static last year was and how we had less activities – as musicians we need to challenge and entertain ourselves too, so I think that’s why I subconsciously wrote in so many rhythm changes and multiple harmonic directions.  Then of course, it was great fun to have Luques and Rudy add all their ideas and textures too.  Our engineer, Chandler Harrod, did a great job recording and I love hearing all the cool bass and drum additions to the compositions. This music really gets me moving and I love that!

Q.  Was this recording a new direction for you and your trio?

A. I began working in the direction of splicing different rhythms, genres and eras compositionally with our 2014 album Kaleidoscope.  I feel that music of today should have genre mobility – that we prefer multiple ideas and references musically from any era or style, and like the colored pieces inside a kaleidoscope, that life/humanity/music is more interesting because of variety.  Transparent Sky, my band, and our music are examples of this approach: that beauty in our world is created through inclusion – if there were only red squares in a kaleidoscope, it would have no appeal.

Q.  That’s true!   I’m curious, do you bring sheet music scores to the studio or do you just wing it?  Do you rehearse?

A.  When I first began recording, I didn’t use any written scores at all – I just played the tune a couple times and then we recorded – a la the Miles Davis Kind of Blue approach.  But I think it’s kinder to have the sheet music, so now I do all the scores ahead of time in Sibelius: being self -taught it took me a while to master notation software, but now it’s fun for me to create the scores – of course there is always room for improvisation too – the scores are more like skeletons for the band to work from.  We still don’t rehearse though – jazz has never been about perfection – it’s supposed to be a bit loose and capture the energy of the moment, whether it’s partially written or improvised.  In classical music you shoot for perfection, but jazz has the energy that anything can happen at any moment, and for jazz lovers we find that much more engaging and dynamic.

Q.  You included the cover God Bless The Child that was popularized and sung by Billie Holiday.  Tell us about that selection please.

A.  For a long time I’ve been trying to record cover songs by women who were composers, because there is very little attention paid to them in jazz – they are normally identified as singers or instrumentalists.  I’ve recorded tunes by Joni Mitchell, Ann Ronnell and Janis Joplin, and I was surprised that I hadn’t even realized that Billie Holiday had written/co-written several songs.  She is one of the most well – known and enduring jazz recording artists, yet we seem to know a lot more about her love affairs and drug habits than we do about her talents, right? 

Q. That’s true!   Did she write God Bless The Child?

A.   Yes, she was the co-writer with Arthur Herzog Jr.  I’ve read two books and seen a movie about Billie Holiday, and they never highlighted the fact she was a composer!  I think it’s important to give women recognition for all for their talents, and by promoting these talents maybe we will see less discrimination in jazz/classical/opera music.  Thankfully we see more women as bandleaders, producers, instrumentalists and recording engineers, but performing arts centers, opera houses and jazz clubs around the world are still almost entirely focused on presenting music of male composers.  Billie Holiday should be recognized for her skills as a songwriter – it’s a great tune!

Q. Ok, last question that’s on everyone’s mind – do you and your trio plan to perform at all in 2021?

A.  We had planned something for this fall, but we realized there are a lot of restrictions that some venues feel they need to require for performers, staff and audience too this year.  Everyone wants to get back to “normal” but we are not quite there yet, so we are going to be patient for now.  So I’m sorry everyone – we want you to have fun and we don’t want anyone excluded, so we are going to wait a while longer for a live show.

Transparent Sky is available for pre-order August 3rd, 2021 and out Sept 3rd, 2021 at Amazon, Apple Music and LisaHiltonMusic.com

 

lisa hilton at the beach in a white dress and tan hat, in the studio with her band mates, and playing using sheet music at the piano

Photos by Aaron Regan. Band photos by Leigh Shane.

Grammy Season Begins…

October 4, 2020 by Lisa Hilton
Chalkboard Destiny, Grammys, J.D. Allen, Studio

I’m sending you a sunny California hello today. The smoke in SoCal has receded – thankfully – and we have B L U E skies again. Although it’s hot, there is a touch of fall with the shorter days now.

Fall is the time when everyone in the music biz gets excited about the Grammy Awards. The preliminary voting for nominees started Sept 30, so it’s exciting to find out who is on this early ballot. What most people don’t realize is that getting nominated is actually harder than winning! In most categories a musician or engineer has about 2% to 10% chance of being nominated.

If you get nominated – this year they will be announced November 20 – then your odds get better and you have a 20% chance to win. So you can see how it’s exciting, but always a long shot for everyone and certainly an achievement for those that win.

This year our album is on the preliminary ballot in these categories:

Chalkboard Destiny: Best Jazz Instrumental Album 

Chalkboard Destiny: Best Engineered Album/non classical – Engineers: Fernando Lodeiro/tracking,

Al Schmitt & Chandler Harrod/mix, Gavin Lurssen & Reuben Cohen/mastering

Best composition: Rush Hour Rhapsody  (Lisa Hilton)

Best Jazz Solo: JD Allen – Sympathy for Blues

Of course, even with long odds it’s fun to fantasize about, right? My favorite part of the recording session was the truly volcanic jazz solo from JD Allen on Sympathy for Blues about 3 minutes in on that tune. I really love it and can listen to it over and over.  JD is one of the top improvisors of our time – a great tenor sax player originally from Detroit, and we have worked/toured together about 10 years now, (he calls me “sis”).  I really hope he gets this award because he deserves it!

Our engineers are all my favorites so I hope that they will be considered too – I have been working with most of them over 15 years. Very coincidentally the concept of our 2020 album, Chalkboard Destiny was that our lives can be changed in an instant; little did I realize how accurate that would become this year with our lives being radically altered by a corona virus just about a month after our release date! So it would be exceptionally cool to win an award under these circumstances I think. (One reviewer even said it was perfect music for “quarantine”).

These days when my work is up for an award or competition I think of it as important to women and girls everywhere. Votes for women as composers, producers, bandleaders are really votes for your daughter, your granddaughter, your niece or neighbor. Women in jazz continue to have many challenges, but we are determined to make it easier for the next generation.

Please wish us a bit of L U C K and wishing you sunny B L U E skies too!

– Lisa

image collage of list hilton performing her album chalkboard destiny with her band

lisa hilton playing piano at the village studios

IN THE STUDIO

August 19, 2020 by Lisa Hilton
Luques Curtis, Recording, Rudy Royston, Social Distancing, Studio

Yep, we did it! We recorded a new jazz album, and it was the culmination of six creative months composing during an unprecedented time in America’s history. Whew!

This year recording new music, like everything else, was different of course. Every studio date seems like a miracle to have the band/engineers/studio/piano all available on the same day. The logistics – more like a complex dance – to find a studio that was open and had good safety procedures in place, were more involved than in the past, but thankfully everything finally came together. I decided on recording at The Village Studios in West Los Angeles this year because they are a top studio, (with an illustrious history), and also have approval from the City of Los Angeles to remain open despite any lock down in California. In addition, they were very kind to me during my evacuation from the Woolsey fire almost two years ago, and I like to work with kind people.

Despite all the preliminary work, scheduling, and pandemic precautions, once we enter the studio, everything changes for musicians. We are able to focus 100% on our art, our instruments, the moment, and sound itself. You do hear stories about musicians having difficult times in recording sessions, and there is stress to get things “right”, but I love the act of creating music in the moment with the highest quality sound. Awesome bandmates Rudy Royston and Luques Curtis, top engineer Chandler Harrod, (with Karl Wingate assisting), perfect studio acoustics, and of course, the big nine foot Steinway D that was loaned to me for recording. (This year I was told the piano was a favorite of film composer John Williams – well, it was fabulous!)

So, how did we do? Hmmm… I have a rule that I don’t “judge” until I’m all done. In the studio your senses and emotions are heightened: I think the worst thing you can do is judge under those kinds of conditions, because the tendency is to think it’s the best thing, or the worst thing you’ve ever heard! So in the studio we play at the top of our abilities with freedom from over-analyzing. Those are the euphoric moments for me – when the music comes alive after months of thought, trials, and efforts magically blossoming in real time into a creation we will share with the world. To say that it is an incredibly cool experience is a huge understatement – those are the moments the composer lives for – it feels like the birth of music itself.

Enjoy these last couple weeks of summer,
Lisa

 

close up images of lisa hilton at the village studios with her bandmates and recording engineer

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