Steve Holt Discusses Inspirations, Creative Process, and Album ‘IMPACT’

For Steve Holt, no musical mountain is too high to climb. An ambitious artist, Holt released his latest album IMPACT on April 25th. The record is the beginning of an exciting new era in Holt’s decorated career. He approached composing somewhat differently this time around, blending the past with the present. Holt has conjured up some of his most innovative ideas while still paying his respects to the tried and true jazz traditions. Each composition is a testament to his creative spirit as he demonstrates an unrivalled enthusiasm for music.

There are many highlights on the album, including the title track, an explosive, high-energy composition that embodies the spirit of the new ensemble that Holt has brought together. The team includes some of Canada’s top jazz musicians, including Perry White, Kevin Turcotte, Duncan Hopkins, and Terry Clarke. They even recorded their own interpretation of the Canadian national anthem, quite fitting for the times we live in.

Holt joins us today for a chat about his creative process, influences, his band, and more…

How would you describe your creative process?

Steve Holt: “There are two distinct processes: live performance and composition. Very different. Live performances are improvised, and the creative process is spontaneous. It’s like channelling a deep part of me that emerges into the music on the spot. It is such an unusual feeling, part of it is me, and part of it is me listening to another part of me. Does that make sense? Jazz improvisation is so unique in that respect. Jazz composition, on the other hand, is very meticulous and takes shape over longer periods of time. For me, it usually starts with a simple melody line that has already come up in my playing, or just floating around in my head, until I capture it on paper and then start to build from it.”

Who are your biggest influences?

“I would say my main influences on piano are Bill Evans, Kenny Barron, Herbie Hancock, Mulgrew Miller, and Kenny Kirkland. I would cite Bird (Charlie Parker Jr.) as a major influence. I spent my formative years listening to Bill and Bird incessantly, analyzing and transcribing solos.

“Kenny Barron was also a major influence. I would go to his house for a lesson, and then go to the club where he was playing and hear the things in his playing that we had talked about earlier. That was amazing. I especially remember one lesson where we spent the better part of the afternoon working on stuff, listening to records, and drinking cognac! Then I went to the Village Vanguard to hear Kenny playing with Dexter Gordon, Eddie Gladden, and Rufus Reid. Now THAT was a lesson.”

Tell us about your most recent release: what was your experience of making it? What went on behind the scenes?

“My last jazz album, Catwalk, was released in 1993 on Sackville. That’s 33 years ago! Sure, I’ve done many live performances during that time, but no new albums. A couple of years ago, I thought, ‘Hey, I’m not getting any younger, so I’d better get busy and start working on that new album I’d been thinking about for years.’

“The work really began about a year ago with the writing of new compositions. The first finished work was Impact, which we performed at the Port Hope Jazz Festival last summer. Let me just say, it’s really quite a moment when you first hear something that you previously only heard in your head. Now here was the tune exploding into life with the quintet. Very exciting!

“At that point, the recording dates loomed larger, and I continued writing and preparing. When we finally got into the studio, the quintet had played all the material on two gigs the week before the studio dates, so we were well prepared. After it was all done, I came back to the studio for an extra session and recorded the solo version of ‘O Canada.’ Signed, sealed, delivered. The album was done.”

The Steve Holt Jazz Impact Quintet ‘IMPACT’ album artwork

What’s the best criticism you’ve ever received about your music or performance?

“I was playing at L’Air du Temps, a jazz club in Montreal. We had just finished a set and Art Blakey walked up to me and said words I will never forget… he said, ‘Man, you played your ass off!’”

What’s your favourite city or venue to play?

“I like performing just about everywhere, but my two favourite venues to play are The Jazz Bistro in Toronto and Diese Onze in Montreal. The Jazz Bistro is a classy dinner club that has been featuring jazz in Toronto for years. The Diese Onze has more of a European feel to it, and is what I’d call a hardcore jazz club, packed every night with jazz fans and musicians who come down to hear and support the performers. Both are great jazz clubs.”

Who would you be most amazed to see front row at one of your shows?

“Well, that already happened. I was part of the house band at the official hotel for the Montreal Jazz Festival. I think it was during the 1980s. All the touring musicians stayed at the hotel, and we were the house rhythm section for the jam sessions. There were plush seats and sofas. The grand piano was positioned at the edge of the stage, and there was one sofa right next to the edge of the stage where the piano was.

“I got the shock of my life when I was getting ready for the second set, sitting on that sofa was McCoy Tyner and Sonny Fortune. During the entire set, I couldn’t help noticing that they did not talk to each other; they just listened! Somewhat intimidating, but even more so, it was incredibly motivating and caused me to play my best. After all, when McCoy is listening, you better have your shit together!”

For those not familiar with your band, can you tell us a little bit about yourselves?

“I’m very fortunate to have some of the best musicians in the country on the album with me.

“Trumpet: Kevin Turcotte is one of Canada’s major trumpet talents with an impressive list of recording and touring credentials. The more than 175 albums he has played on range in style from folk legend Bruce Cockburn to opera star Measha Bruegergossman to jazz great Rob McConnell and the Boss Brass. He’s received 20 Juno nominations, bringing home the prize five times. I met Kevin when I first moved to Toronto in 1987, and he’s my first and only call for trumpet.

“Saxophone: Perry White is one of Canada’s premier saxophonists. He’s got a gorgeous tone and lyrical approach to playing that have kept him busy performing in Canada and around the world for over two decades. Perry has developed his own sound, which he describes as being ‘steeped in the tradition of jazz and charged with the energy and experimentation of modern music.’ Sounds about right.

“Bass: Duncan Hopkins was born in England and came to Canada with his family in 1971. He can be heard on over 50 albums, numerous CBC, BBC, and NPR recordings and has eight recordings as a leader and/or co-leader. Duncan and I have done many gigs together, sometimes as a duo, or trio, and more recently as a part of The Quintet.

“Drums: Terry Clarke is quite simply one of the world’s great drummers. In the 1970s, Terry toured extensively in Japan and Europe with Jim Hall and Oscar Peterson. He has appeared on over 300 albums throughout his career and was named ‘Drummer of the Year’ from the Canadian National Jazz Awards for seven years in a row.”

What has been the most memorable moment of your career so far?

“I’ve been fortunate to play with some of the greatest musicians in the world, but one of the most memorable was a gig with Larry Coryell. In my early years, I was a jazz fusion enthusiast and Larry was one of my heroes. I used to listen to his records and saw him live in Montreal when I was just a teenager. Getting the call to play with him when I was older was super exciting. By this time, I was immersed in straight-ahead jazz and wondered what kind of music he would be playing.

“It turns out he called all straight-ahead tunes, including his originals. The gig was awesome. Recently, I was cleaning out an old filing cabinet and came across a chart for one of Larry’s tunes, written in his own hand. A ballad called ‘Tender Tears.’ It brought back all the great memories of that gig, and I decided to record it with the quintet. It’s on our new album.”