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Polar Bear: Raw and Spontaneous
By Polar Bear, from left: Tom Herbert, Seb Rochford, Mark Lockheart Pete Wareham, Leafcutter John
Both Rochford and Herbert are quiet and thoughtful. Rochford is an exceptionally softly-spoken individual whose voice betrays only occasional hints of his Scottish origins; his considered and thoughtful responses belie the stereotypical image of the loud and manic drummer. Together, Rochford and Herbert offer many insights into an innovative and exciting band that is based on friendship and mutual respect.
Four of Polar Bear's members have been together since their first album, Dim Lit (Babel, 2004), but there had been an earlier incarnation of the band. Rochford explains about the first Polar Bear lineup: "I can't really remember when, but I started the band with Rachel Musson, a saxophonist, and Amy Baldwin on double bass. We had a bass clarinetist as well, Ben Harlan. We recorded demos, just four-track stuff, but it didn't work out. Out of the current people, I think Pete [Wareham] was the first person I met. I asked another saxophonist if he wanted to join a band, but he didn't want to do it and said, 'Oh, you should phone Pete.' So I did, and there was an instant connection."
Herbert and Polar Bear's other tenor player,
Mark Lockheart
saxophone
Lockheart joined after Rochford saw him playing a standards gig at London's 606 Club. "I thought he was amazingthe amount of personality he had, playing tunes I'd heard so many times before," Rochford says. "He has a really positive presence on stage, and I thought that he'd go brilliantly with Pete's way of playing." The two tenor lineup has been a constant in the band since then, but was this intentional? Rochford is happy to admit that, initially, it wasn't. "Actually, I called Pete because the guy who gave me his number told me that Pete played bass clarinet," Rochford says. And does Wareham play bass clarinet? "No," Rochford says, laughing. "I don't think he's ever played it. But by the time I found out, I didn't really care anymore; I just loved his playing."

It's clear from both Rochford and Herbert that Polar Bear is a collection of individuals who fit together personally as well as musically. Rochford's decision to invite the other musicians to join the band was informed by how he felt he related to them as people. This may well at least partly explain the band's comparative longevity as a unit. The partnership between Rochford and Herbert, as the band's rhythm section, sounds particularly intuitive. So how does the Rochford/Herbert partnership function? Rochford pauses to consider his answer, and Herbert responds first. "I don't think we really think about it; we never discuss it," he answers, emphatically. Rochford concurs: "I think that's one thing I love about playing with Tom. ... You don't have to think about that because it just feels so natural. Sometimes we talk about concepts or ideas that we have, that we can expand, but the fundamentals never need discussing."
Herbert goes on to talk about the space that Rochford gives Polar Bear's members through his approach to writing and arranging. "Seb gives us a lot of freedom to interpret his music," he says. "A lot of the time, he might have written just a sketch or an idea for a bass line"Herbert and Rochford both laugh"a starting point that I'll play around with. Then he'll tell me it's great, or he'll suggest something completely different, and I'll try to find what that might be. ... Often the stuff will change in the course of a tour or a series of gigs. Stuff will morph into something different, and if it's not in character with what he's hearing, then he'll let us know."
Peepers is a quintet album, but earlier Polar Bear releases have featured guest instrumentalists and, on one or two songs, guest vocalists. Live, however, the band rarely involves other musicians. "We played with Julia [Biel, vocalist] two or three times," Rochford explains. "

Ingrid Laubrock
saxophoneb.1970

Rochford's approach to leading such a popular and in-demand group is, to his credit, sanguine and altruistic. His attitude has helped all of the band members (including himself) carry on with individual projects and develop as genuinely influential players. Most recently The Invisible, in which Herbert plays bass guitar, gained a 2009 Mercury Music Prize nomination for its first album. As a result, The Invisible's profile has risen on the UK music scene.

This relationship has been forged over a history of playing together. Does this mean, then, that Polar Bear doesn't rehearse? Again, both musicians laugh before one of them, Rochford in this case, answers. "We don't rehearse a lot. We rehearse when I've got new tunes, but I'm lucky in that everyone memorizes the music, so we can let the music develop," he says. "We generally rehearse if Seb has new stuff, or if we have a big concert coming up." Herbert adds: "Sometimes it's good to rehearse just to dust off the cobwebs, iron out a few inconsistencies."
With such an approach, and with four albums recorded, how much of the Polar Bear repertoire can the band call on for any given performance? Rochford is confident in him answer. "You'd have to ask Tom, Pete or Mark," he says. "I can do all of it, but then I don't have to remember the actual notes or the keys." Herbert is happy to take a spontaneous approach to the set list from time to time, if audience requests arise. "There are the occasional gigs when someone will shout something out ... 'Beartown' and 'Argumentative' are two tunes that get called out quite a lot," Herbert says. "Yeah," adds Rochford. "We played 'Argumentative' a while ago when we hadn't played it for ages because someone shouted out for it and everybody remembered how it went." Herbert takes up the theme again, emphasizing that responding to requests isn't always the best thing to do. "On a gig, we work the set out, and we get a shape for the set. It can really disrupt things if you throw in a different tuneit breaks up the rhythm. .. There are certain tunes that we'll work toward because they fulfill a certain function for the audience," he says.

With the release of Peepers, Polar Bear will spend much of the first half of 2010 touring. Rochford has longer term plans for the band, but prefers to keep them to himself. "I don't really like talking about that. Sometimes, when you talk about your plan, you don't do it. I have got some ideas about what I want to do, but I feel that to say them might actually stop me from doing them. I wouldn't want to say them and then not do them," Rochford says. Herbert and Rochford both laugh, but the bassist makes no attempt to get Rochford to reveal his plans, and talk turns to the new album.

The song titles on Peepers are notably descriptive of the tunes themselves. "Bap, Bap, Bap" describes that tune's sax riff almost exactly, while "Drunken Pharaoh" sets up mental images of a returning late-night reveler that match the tune's fractured, uncoordinated sound. While many writers choose titles for tunes almost arbitrarily, Rochford often takes a more considered approach, although not on every occasion. "I didn't have a title for 'Bap, Bap, Bap,' so I called it that because it describes the sound. 'Drunken Pharaoh' is someone we know, who was a bit drunk at one of our gigs. He said we should call the tune after him." Herbert interjects to clarify the details. "He was being quite rowdy in the audience, and I don't think he realized that Seb was gonna attach the drunken aspect," Herbert says.
Rochford explains that most of the other tunes are about specific things. "I remember the event and write the tune while I still have that feeling. 'Happy For You' is written about Pete and his new baby. ... I quite often write tunes that are influenced by people who I know or have met." One of the more unusual sounds on the album is on "Finding Our Feet"an eerie, evocative and mystical sound that could be purely electronic or could be a sample. Leafcutter John was responsible, from start to finish, as Rochford and Herbert both explain. "It's John singing and sampling himself," Rochford says. Herbert offers some more details: "John does all of that stuff very much in the moment. The possibilities he has at his fingertips are incredible; what he can do with electronics is amazing. He's a very creative individual."
Herbert's own double bass playing is a distinctive part of the Polar Bear sound, but with The Invisible he plays bass guitar. The decision to concentrate on the acoustic instrument with Polar Bear is a conscious one. "It suits the sound; it just feels right," he says. "Also, for quite a while I was playing electric bass in

Acoustic Ladyland
band / ensemble / orchestraPolar Bear's popularity in the UK and Europe is established, but the band has not yet performed in North America. "It would be great to play America," Rochford says. "I'd love to play there. I go over quite often to New York, but it's mainly the financial stuff that stops the band going over. Also, our albums are only just being made available in the Statesso maybe this is the time for us to go over there."

Polar Bear's star continues to rise as part of what seems like an increasingly vigorous and creative UK jazz scene. Do Herbert and Rochford share this view of British jazz? Once again, Rochford pauses for thought and Herbert answers first. "I think the scene's really healthy. The people I come across, especially the younger players, have a very open attitude. It seems like there are loads of bands forming with very different sounds and loads of influences," he says. "We played the Jazz Cafe recently with Zed-U and Troyka supporting ustwo really amazing and creative bands with world-class playing." Rochford also feels positive about the UK scene. "I feel very proud of all the music that's coming from the UK, from people like

Kit Downes
keyboardsb.1986

Stan Tracey
piano1926 - 2013

Evan Parker
saxophone, sopranob.1944
Polar Bear, from left: Leafcutter John, Tom Herbert, Mark Lockheart Pete Wareham, Seb Rochford
The final word goes to Herbert: "I just wanted to say that a lot of bands I come across seem to be creating their own sounds. America is still a big influence on jazza lot of players are assimilating that, but they're creating something that sounds really British. It doesn't seem like a conscious thing, but it feels like people are allowing themselves to make music which is representative of them. That's really inspiring."
Selected Discography
Polar Bear, Peepers (Leaf Records, 2010)
The Invisible, The Invisible (Accidental Records, 2009)
Acoustic Ladyland, Living With A Tiger (V2 Records, 2009)
Mark Lockheart, In Deep (Edition Records, 2009)
Polar Bear, Polar Bear (Tin Angel, 2008)
Leafcutter John, The Forest And The Sea (Staubgold, 2006)
Polar Bear, Held On The Tips Of Fingers (Babel, 2005)
Mark Lockheart, Moving Air (Basho Records, 2005)
Polar Bear, Dim Lit (Babel, 2004)
Leafcutter John, The Housebound Spirit (Planet Mu, 2003)
Photo Credits
Page 1, Top: Courtesy of The Leaf Label
All Other Photos: Bruce Lindsay
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