This Friday, wild Up presents an evening of music curated by and celebrating the work of clarinetist Brian Walsh. Walsh is a staple of the LA scene, most frequently inhabiting the contemporary classical and jazz worlds, and having worked with everyone from the LA Phil and wild Up to Nels Cline and Bright Eyes to his own ensembles (Walsh Set Trio and gnarwhallaby). I’m glad he had time to answer a few questions ahead of tomorrow’s concerts at Boston Court (tickets available here).
This concert on Friday explores and celebrates your musical influences and experiences. Could you talk a bit about the program?
I wanted to present music that I love listening to and love playing. I also wanted to work with some of my best friends who are incredible musicians. The two pieces that first popped into my head when chatting with Chris Rountree were Brian Ferneyhough’s Time and Motion Study 1 for solo bass clarinet, and Fables of Faubus by Charles Mingus. The program developed out of that initial connection. gnarwhallaby will be performing a wonderful piece by Martin Smolka-Euphorium. This is scored for baritone saxophone, euphonium, cello, and prepared piano. It is both disgusting and beautiful. It also grooves. Magnus Lindberg’s Ablauf features a slithering clarinet solo bombarded by two bass drums. I will play a solo I wrote for clarinet striking assorted small objects. Walsh Set Trio(bass clarinet, bass and drums) will play my compositions that mix absurdist vocals, jazz and contemporary music. The music of the great Charles Mingus will round out the concert.
It’s a really wide-ranging program, and I’ve seen you in many different contexts as a performer. What opened you up to exploring such diverse musics? Do you even see them as diverse, or all part of the same practice?
I grew up only listening to classical music and some 60’s folk rock. When I hit 8th grade I discovered jazz and that opened the flood gates. At first, any music that featured the clarinet really interested me, and that pretty much exposes you to almost every kind of music. Almost. I don’t think so much about the diversity aspect. If I hear something and love it, I do it. The different styles just have slightly different needs. I still listen to a lot of music so my brain is used to moving relatively fluidly between styles.
Is there a particular music that’s your favorite to play? Why?
As soon as I think there is, something else comes along. I do tend to always return to contemporary music and jazz though.
What attracted you to clarinet in the first place? Was it your first instrument?
I saw a wind quintet play in the mall and liked the look of the oboe. The group was wearing tuxedos and socks that looked like shoes. I told my band director that I wanted to play oboe and got a clarinet. I figured it was close enough.
What other musicians in LA inspire you?
I have to say that all the groups and musicians I work with are constantly pushing me and inspiring me. Composers as well. Groups like wild Up and Chris Rountree, gnarwhallaby (Richard Valitutto, Derek Stein, and Matt Barbier), Nicholas Deyoe and all the folks at WasteLAnd. Daniel Rosenboom and Orenda Records just to name a few. Local heroes who are trying to make great art as well as build a strong, supportive community.
I mean this as a compliment: anytime I see you onstage I think, “oh, of course they’d get Brian, he can do anything.” That said, are there any musical goals or projects, that you’re interested in and haven’t yet been able to pursue or accomplish? Anyone you’d like to work with but haven’t yet?
I’m planning on recording an album of music featuring an expanded version of my trio, using strings and guitar. My current dream is to record an album with organist Larry Goldings. He doesn’t know that yet. I’ve also been thinking about recording a solo clarinet album. I usually don’t like listening to a whole album of solo anything so I’m not sure what to do about that.