Mark Isham Interview Page 4

Jazz Monthly: ... and making beautiful music in just a thoughtful way... and so musical... just so beautifully done. The Duke tunes are, I think there are three tunes… “In a Sentimental Mood” you took such a wonderful solo… just a beautiful intonation… back and forth with Kate till the very end. It was almost like you were dancing with her. You know what I'm saying?

MI:  Thank you so much! I couldn’t be happier that you say that and felt that because that’s literally the feeling we wanted to convey.  That’s what it is, it’s a dance between two people who enjoy dancing with each other and enjoy dancing to that music and want to share that with people. 

Jazz Monthly: You know on “Don’t Get Around Much Anymore,” the one thing I noticed, it felt like I was almost eavesdropping on your talk over sessions.  I had a feeling, correct me if I'm wrong; you purposely made the tempo into a slow lazy, “Don’t Get Around Much Any more.”  We are so used to swinging it.  It was such a beautiful lazy, soulful tempo that really worked. It was just so refreshing. It didn’t have that fast “businessman’s bounce” swing. (Laughing) Do you know what I mean?

MI:  Yes, (Laughing) I'm glad you liked that.  That was one that we did on the very last day of the session. We wanted to “over record” so that we could throw some songs out and not feel bad about.  My wife said, “Pick some other ones that you haven’t thought about doing; just throw them together.”  I said, “But the recording session is this afternoon.”  She said, “Come on you can do it.”  (Laughing) That was one of them, so I sat down on the piano, and said let me rethink this.  I had the same feeling as you; this song has been heard so many times. Every great trumpet player has played it and every great singer has sung it.  We just need to find another fresh little approach.  That little piano rift came to mind… and there we go.

The band was just stellar; I could not have been more pleased. These guys were great, but they were just especially great that day and the way they interact…

Jazz Monthly: I was really struck by the rhythm section: Alan, Peter and Tom on “I Wanna Be Loved,” because they’re kind of anchoring you… and then at the end, I don’t know if I’m saying this right but it was kind of a musical flirting between you and…

MI: Yes. (Laughing) that’s exactly it. I’m assuming that they sent you all the artwork and everything we did. But, we sort of mocked that up. We are both happily married to other people but you know, we wanted to mock up “feelings” about these lovers who just can’t seem to get it right. There’s this… “Bittersweet”… the mood of the album. There are times in just one syllable she sums it all up.

Jazz Monthly: You know when I saw on my CD, even before I hit play on my CD player, I saw “Do It Again.”  I knew it wasn’t the Steely Dan tune. (Both laughing) You know Mark; this is one of the few tunes that George Gershwin did not write with his brother Ira.  He wrote it with Buddy DeSylva as you know. Buddy DeSylva wrote the lyrics. Again, it’s you and Kate are in such a playful mood. I guess that’s just the best way to describe it, “Playful."

MI: Playful, exactly.  I think that’s the sweet side of the record, I think it goes into playful.  I think that is a very good choice of words.  That’s a lot of Kate’s personality.  She has a tremendously playful side to her. She brings that into the recording session with her… kept us all in great sprits.  When a song like that comes up and you want that mood, its very easy to find that with her because she lives right there.

Jazz Monthly: You know the final song on here, I just want so much for people to get this CD because they will rewarded and blessed a hundred fold on this, is of course Cole Porter’s “Every time We Say Goodbye.” This is a great way to tap this marvelous CD. I was struck by, again the phrasing and again the toying by Kate and you – stretching into the next measure.  I’m trying to describe this, I don’t know if I’m describing it right, kind of holding back…

MI:  I know what exactly you mean, because that song has been done so many, many times by so many giants.  I actually did a fare amount of research into more obscure versions.  I was trying to figure out how do we want to harmonize this.  The original is beautiful and there were so many different ways it’s been interpretated.  I found a beautiful recording of Chet Baker and Paul Bley.  Just a duo recording,  and Paul basically was just re-harmonizing on the spot. Just gorgeous, gorgeous things he did that I just blatantly stole, (both laughing) and put into our version.  This help set that mood and set that willingness to make it feel more stretchy and malleable you know.  So I have to give credit to Paul. There were some wonderful things that he did that I borrowed.

Jazz Monthly: We do urge everybody to go out and get “Bittersweet.”  It is such a beautiful, beautiful recording.  Just before we close the interview Mark, and by the way it’s a great joy to talk to you.  I know you received the coveted Henry Mancini Award a few years ago for Lifetime Achievement from the American Society Of Composers Authors and Publishers, ASCAP.  We want tell everybody that this award is presented only once a year to a prominent film composer who has demonstrated, I guess what they call “Leadership Qualities in the field.”  Now what was that like?  Henry Mancini, Mark, that’s quite a ways from a kid who went to PS-75? (Both laughing)How did that feel receiving the Henry Mancini award?

MI:  It was tremendously validating I must admit.  You know I have to remember that with the Life Time Achievement Award, I still feel like I'm approaching my prime. (Laughing) I have a lot more to do, so I don’t consider by any means that my lifetime is anywhere near completed here. It was certainly tremendously rewarding to know that the body of work I have done up to this point has touched people and has inspired people to think of me in this way, especially by your peers.  Marilyn Bergman is such an icon. She was there and presented me with the award.  My whole family came in, it was such a beautiful night and I was so grateful for that experience. 

Jazz Monthly: By the way Mark.  What’s going on in your life right now with composing?  What are you working on now?

MI:  I’m working on a Joel Silver thriller called "The Factory,"staring John Cusack.  That’s under way.  Got a couple of things the agents are trying to close deals so I probably shouldn’t say. (Both laughing) Obviously we are promoting “Bittersweet” getting ready to see where the first tour might start.  I’ve also started an instrumental band here in LA.  At this point it’s just designed to be a local project.  The last time I did that we made a record and toured the world.  That was “The Silent Way Project.”  (Both laughing) So who knows?

Jazz Monthly: I want to tell everybody to just go out and get this CD, “Bittersweet” with Kate Ceberano and of course Mark Isham and an all star band. They brought the music home. You know… that’s the best way that I can describe it. 

MI:  Well thank you so much! Your support and appreciation means such a great deal to us!  I’m so glad that the record has touched you, it was our intention to do that.   I’m sure Kate would say this with me; it just pleases us so much, that our intention has been delivered.  Thank you so much for your tremendous support on that, we really appreciate that!

Jazz Monthly: Thank you so much Mark Isham for being with us.

MI:  It’s my great pleasure. Thank You.