Between the Lines of Dan Pitt's 'Horizontal Depths'
Toronto guitarist Dan Pitt returns this fall with Horizontal Depths, an album that pays tribute to Canadian jazz legend Phil Nimmons while charting bold new territory in contemporary jazz.
Having expanded his trio to include saxophonists Naomi McCarroll-Butler and Patrick Smith, Dan Pitt weaves intricate counterpoint and linear melodies that draw from chamber music, rock, and electronic influences. The album's title, Horizontal Depths, stems from a pivotal moment in Pitt's studies with Canadian jazz legend Phil Nimmons at the University of Toronto, where his mentor encouraged him to think beyond vertical harmonies and explore the dynamic interplay between individual voices.
Set for release on November 1st, the eight-track collection showcases Pitt's evolution as a composer and bandleader, demonstrating why he has become such a vital force in Canada's improvised music scene over the past decade.
Lawrence Peryer: Horizontal Depths pays homage to Phil Nimmons. How did his teaching shape you?
Dan Pitt: Phil was incredible, and spending a short time learning from him was inspiring. I was able to take his composition class in 2016, and it was amazing to be in his presence. He's done so much incredible work and made music with many notable musicians throughout his life. Phil had a way of challenging a lot of what was taught in conventional music school and academics, making you think more about the music and how everything functions. My main takeaway was letting my ears be more of the final judge than my eyes. Phil helped me a lot with seeing and hearing music across every aspect and element of the composition and music-making process.
Lawrence: He made a significant impact on Canadian jazz. How do you see your work continuing or diverging from the traditions he helped establish?
Dan: Honestly, I don't give these things much thought regarding my music being an impact. When I perform or release music, I'm just hoping people find and enjoy it to some degree. I feel like today's music and how we access music differs greatly from the environment my teachers and their teachers were exposed to. If anything, I hope my work shows that people can make the music they want meaningful to themselves and others regardless of these experimental and non-mainstream avenues.
The Nimmons Tribute
Lawrence: The album features interlocking figures and melodies that range from singable to perplexing. Can you walk us through your compositional approach for a track like "27 Hours"?
Dan: When I write music with multiple parts like this, I try to compose it exactly how you hear the arrangement on the album from start to finish. I have a hard time writing out of order because I feel like I've never been good at backtracking and writing an intro afterward, etc. So, in this case, I focused on the two parts you hear in the beginning, with the guitar/ bass clarinet and bass. Then, add the tenor line on top. I've always been interested in counterpoint and studied a lot of Bach pieces in school, like two/three-part inventions and fugues. This piece is also heavily influenced by Tim Berne's music. I've always loved how Tim pushes melodic lines and makes everything work against one another. The goal for this piece was to make every part feel strong and stand out while complimenting one another.
Lawrence: This seems related to your decision to expand your trio to a quintet...
Dan: When I was doing my undergrad, I worked in a lot of ensembles that were six to eight musicians, so when I wrote for those groups, I would write music with a lot of parts for everyone in the ensemble. When I graduated, I had all this music I worked on and wanted a group to play it with. I had been playing with Alex and Nick in a trio but always envisioned adding woodwinds to the mix. I enjoyed quintet groups with two saxophones, like Paul Motian's Quintet and Tim Berne's Snakeoil, which used bass clarinet. Patrick and Naomi's doubling instruments also led to interesting blends between all the instruments, making writing a real treat.
Lawrence: Your music blends jazz with elements of chamber music, rock, and even abstract electronica. Which non-jazz artists or composers (or even other art outside of music) have influenced your sound?
Dan: It's cool to know these sounds come across on my music. I've been really into a handful of new and old artists lately. Talk Talk and Mark Hollis constantly influence me. I think all those records and the sound they captured are remarkable. [Talk Talk's final album] Laughing Stock is one of my Desert Island records. I've also been interested in the electronic duo Autechre and working through their catalog. Additionally, metal and progressive metal have always played a big role in my influences.
Lawrence: What central ideas or emotions were you aiming to convey with Horizontal Depths?
Dan: I always like to leave a bit of interpretation and openness to my album names and song titles. I feel like people can draw different things from the music they listen to because our experience with music is such a personal thing, and how one experiences it based on their life and how they emotionally responds to the sound can lead to different ideas on the themes and subject of the music.
I think for me, the album title is just an idea I've only begun to explore on a musical and personal level.
Lawrence: You're based in Toronto but have performed across Canada and New York. How has the Canadian jazz scene shaped your musical identity?
Dan: I feel spoiled as a guitarist, having been taught by so many great teachers from the Canadian jazz background, specifically those who followed and learned from Ed Bickert. Having someone like Ed influenced me, and so many of my teachers have been great for learning and developing my abilities as a musician and guitarist. I am also grateful to have learned from guitarists Bob Shields and Geoff Young, who embody what I mentioned and add to it with their teachings and other influences.
Lawrence: How do your collaborations with other musicians feed into your work as a bandleader and composer?
Dan: I'm eternally grateful for all the connections and relationships I've developed through music and the study and practice of it. I'm hoping every experience has influenced my work. Still, more importantly, what I take away the most from my relationships is the type of person I want to be in the music community and how I want to lead and contribute to my projects and the projects I get hired for.
Lawrence: Similarly, how did your studies with artists like Brad Shepik, Tony Malaby, and David Torn inform your guitar playing and composition?
Dan: All of these people were paramount to my development as a musician. Brad was amazing to work with and helped me tear down a few barriers when it comes to different styles and playing with other people. He showed me a more universal approach to jazz, improvised music, and beyond.
Lawrence Peryer
Working with Tony was crazy because I am such a huge fan of him. I see him every chance I get when he comes through Toronto. Working with him was amazing because he showed me many ideas and concepts that broke down the notion that composition and improvisation were different when they were the same; one just happens spontaneously.
David Torn was great because he brought out a lot of ideas for generating sound and tone on the electric guitar and connecting it to the guitar and other instruments. He helped bring out a lot of left-hand techniques that I had disassociated with jazz guitar.
Lawrence: Your work has been described as "rich in complexity, original creativity, and sophisticated musicianship." How do you balance complexity with accessibility in your music?
Dan: Some complexity is always present when you practice and work on music to a certain extent. This could be in the music you write in terms of melody, harmony, structure, etc. Although, if the music you play is relatively simple, there is still complexity in tone, dynamics, time feel, articulation, etc. Much of my experience lately has been appreciating and admiring that complexity from all aspects. By doing that, I think I've allowed my music to have some elements that one may not find accessible, making them tangible pieces for a wider audience.
Lawrence: Can you tell us about your approach to dynamics and tension in your compositions?
Dan: I'm fascinated by the relationship between tension and release, which I continuously work on in my playing and compositions. This development is usually in two parts and extends to add voices above, below, or between. I often find two-part writing a really clear way to get ideas out. Usually, if I can hear it in two voices, I feel like it will usually be a strong composition. For dynamics, I feel like my approach is to apply these concepts as naturally as possible to my writing. This usually happens in the arrangement of the music, where I normally write and arrange it from start to finish, just as you'd hear it. This has been the easiest way for me to manage my compositional issues that sometimes clash with the flow of things.
Lawrence: Looking ahead, how do you envision your music evolving? Are there new directions or collaborations you're eager to explore?
Dan: I've done a lot with my trio and quintet to develop and work on music with those bands. I foresee those projects evolving further in live performance applications. I'm starting to brainstorm ideas for a further expansion project of the quintet. A large ensemble project may or may not happen in the future.
My non-jazz influences have inspired me to start a new band and work on music with an electro-acoustic base. I feel like I've always stayed away from incorporating more instruments with effects, electronics, and synthesizers, and only recently have I begun to explore that world and look at composition possibilities.
Dan Pitt was presented with the Stingray Rising Star Award as part of the Jazz Youth Summit at the Ottawa Jazz Festival. His work has been recognized through grants from funding bodies like the Toronto Arts Council, Ontario Arts Council, and the Canada Council for the Arts.
If you enjoyed this, be sure to check out:
Lawrence Peryer
Comments