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Monk Meets Bears on Caleb Wheeler Curtis's Latest

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Courtesy Kenneth Jimenez

By Lawrence Peryer
November 2, 2024
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Sometimes it's preparation, and then letting go in the studio, and sometimes it's meeting in the studio and saying, 'Hey, here's our path. Let's go.
—Caleb Wheeler Curtis

Caleb Wheeler Curtis

saxophone
b.1985

" data-original-title="" title="">Caleb Wheeler Curtis, the Brooklyn-based saxophonist, composer, and multi-instrumentalist, is set to release his most ambitious project yet. The upcoming double album not only showcases his considerable talents but also reimagines the music of

Thelonious Monk

piano
1917 - 1982

" data-original-title="" title="">Thelonious Monk for modern listeners. The new release with the intriguing title The True Story of Bears and the Invention of the Battery (Imani Records), manifests Curtis's creative restlessness through a willingness to place his own compositions side-by-side with a great.

A Tale of Two Trios

Curtis's new project centers around an interesting duality. The album features two separate trios, each bringing its own flavor to the music. "I love both of these realities," Curtis says, "and I want to unify these two sides of my professional musical life."

The first disc, Bears and the Invention of the Battery, features Curtis's working New York trio with bassist

Sean Conly

bass

" data-original-title="" title="">Sean Conly and drummer

Michael Sarin

drums

" data-original-title="" title="">Michael Sarin . This ensemble, refined through frequent performances and rehearsals, approaches Curtis's original compositions with a practiced familiarity that allows for both precision and spontaneity.

The second disc, titled Raise Four: Monk the Minimalist, pairs Curtis with the formidable rhythm section of bassist

Eric Revis

bass
b.1967

" data-original-title="" title="">Eric Revis and drummer

Justin Faulkner

drums

" data-original-title="" title="">Justin Faulkner, known for their work with

Branford Marsalis

saxophone
b.1960

" data-original-title="" title="">Branford Marsalis. This trio, assembled specifically for the recording session, brings a fresh energy to Monk's timeless compositions.

Curtis's approach to these two ensembles shows his adaptability as a bandleader. "Sometimes it's preparation, and then letting go in the studio," he notes, "and sometimes it's meeting in the studio and saying, 'Hey, here's our path. Let's go.'"

The Power of Three

Curtis's dedication to the trio format is deliberate—and long-standing. He finds in this configuration an ideal balance of freedom and structure, allowing for maximum individual expression while maintaining a cohesive group sound.

"The absence of the piano or a guitar, or even another horn player, creates a lot more opportunities for something verging on silence," Curtis observes. This embrace of space and sparseness is key to his compositional approach, giving each note more weight and meaning.

The trio format also gives Curtis the flexibility to explore his full range of instruments. Throughout the album, he switches between alto saxophone, trumpet, and sopranino sax, creating a rich variety of tones that belies the small size of the ensemble.

A Multi-Instrumental Journey

Curtis's development as a multi-instrumentalist is a story of curiosity, challenge, and growth. While the alto saxophone remains his primary instrument, his forays into trumpet and sopranino saxophone have opened up new avenues of expression and pushed him out of his comfort zone.

"When I first started playing [trumpet] in public, I would literally be shaking and have dry mouth," Curtis admits. This vulnerability, however, has become a strength, infusing his trumpet playing with a raw emotion that contrasts with his more assured saxophone work.

The addition of the sopranino saxophone to his toolkit was inspired by a performance by Brazilian musician

Hermeto Pascoal

flute
b.1936

" data-original-title="" title="">Hermeto Pascoal. "I left the concert with a feeling of so much possibility," Curtis recalls. "It felt like you can really do whatever you want in music."

Tradition Reimagined

Curtis remains deeply rooted in, but not bound by, jazz tradition. His exploration of Monk's music on the second disc of the album is both a tribute to a jazz giant and a bold reimagining of familiar material.

By approaching Monk's compositions without a pianist, Curtis frees the music from its most familiar context. "It takes the responsibility off of the pianist to be Thelonious," he explains, "and I think that it's one of the ways that I can bring some kind of commentary to those pieces."

This approach allows Curtis and his trio to focus on the essence of Monk's music, highlighting the strong melodies and irresistible swing that make these compositions timeless. "Inside of his music, you have the melodies and then you have the beat," Curtis notes. "And Monk's bands is always so strong and it has this "Great American Quarter Note" that requires that we just keep going."

The Art of Collaboration

Throughout this conversation, Curtis frequently returns to the importance of his musical collaborators. Whether discussing his long-standing New York trio or the one-off configuration with Revis and Faulkner, he emphasizes the need for mutual trust and respect among bandmates.

"I want them to play however they want," Curtis says of his approach to bandleading. "They're in the band because of how they play. Not because I think they can execute my vision for the sound of the music."

This collaborative spirit extends beyond the bandstand. Curtis speaks warmly of his involvement with Imani Records, the label run by pianist

Orrin Evans

piano
b.1975

" data-original-title="" title="">Orrin Evans that has released all of Curtis's leader albums to date. "It's part of our effort to learn and grow and create a platform for everybody," he explains.

Crafting an Artistic Identity

As the discussion turns to the new album's cryptic title and the equally intriguing names of individual tracks, it becomes clear that for Curtis, every aspect of the music-making process is an opportunity for artistic expression.

"I want the titles to cause a reaction," he muses. "I used to think that the titles didn't matter but I've come around to feeling that everything that goes into the concert or the recording, every single thing is a choice."

This attention to detail extends to his approach to improvisation and composition. Curtis strives to create pieces that have "one thing about them," a core idea or character that provides a starting point for improvisation while maintaining the tune's identity.

The Road Ahead

Curtis's excitement about the future is evident. He speaks enthusiastically about upcoming performances, including a highly anticipated West Coast swing that includes a Seattle show serving as a bit of a homecoming for drummer Michael Sarin, a native of nearby Bainbridge Island.

Beyond specific gigs or releases, what comes across most strongly is Curtis's unwavering commitment to growth and exploration. Whether he's reinterpreting Monk, challenging himself on a new instrument, or crafting elaborate album concepts, Caleb Wheeler Curtis embodies the spirit of innovation that keeps jazz vital and relevant.

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