In the video trailer from Stunt Records promoting this latest release from the veteran guitarist, Jim made the makes his observation that he had no plans to retire even though he is approaching 80 and is looking to “bop ‘til I drop”; and with the calibre of his playing on his latest release I must confess that I wouldn’t want him to retire any time soon either.
In a career spanning six decades Mullen has taken the techniques and influence of Wes Montgomery to develop a sound all of his own, whether playing bebop, jazz fusion with the group he co-led for many years with the late Dick Morrisey.
In recent years he has established his own organ trio featuring Ross Stanley, and the two musicians also perform as part of a trio with Mullen’s wife, vocalist Zoe Francis with who they have made a couple of acclaimed albums.
Following on from an album dedicated to the music of Wes Montgomery with UK vocalist Claire Martin, Jim Mullen makes his debut as leader for the Danish label Stunt Records without initially realising it was his date.
Your new album, For Heaven’s Sake is released on 31st January on Stunt Records with a new quartet. Please can you tell us a little about the album?
When I was hired to play on For Heaven’s Sake, I thought it was Ben’s album but he had some recording commitments in the U.S. & so it became my album by default!
One of the striking things about the album is how the quartet work so well together, but I understand that you had never met organist Ben Paterson or tenor saxophonist Jan Harbeck prior to the chance to pay a few dates together and the recording session. How did the quartet come together?
Ben & I met on the first day of a Danish tour & we hit it off right away.
It was a nice combination of styles from Ben’s classic Hammond groove to Jan’s ‘Paul Gosalves’ influences, & my blues & bebop.
From the outset there is a chemistry amongst the four of you that is infectious. You clearly had a lot of fun making the album, and this comes across in the music. The material is mostly standards, but all delivered with a fresh and invigorating sense of swing. How did you select the tunes to record on the session?
Each player brought some ideas and we quickly chose two sets of songs. We all shared a love of classic Blue Note albums. We picked a bunch of favourite old tunes & one original “Medication” & tried to give them a fresh treatment.
It’s our responsibility to play the songs in a way that allows us to personalise them.
Interestingly, For Heaven’s Sake is being released on vinyl as well as CD, as the passion and interest in the format makes a resurgence. As someone who will have grown up listening to LPs and 45rpm singles, how do you feel about the renewed interest in vinyl?
The current interest in vinyl is partly the attraction of large sleeves but the cost is prohibitive for many.
The new album is not your first release on the Danish imprint, Stunt Records, having previously recorded a collaborative album for the label?
For Heaven’s Sake is my second outing on Stunt Records, my debut being the Wes Montgomery tribute with top U.K. vocalist Claire Martin called Bumpin’: Celebrating Wes Montgomery.
Looking back at your discography and the recording with Claire, we perhaps shouldn’t forget that you frequently work with vocalist, including a couple of wonderful albums with you wife, Zoe Francis. Perhaps you could tell us how you met Zoe?
I enjoy working with singers especially with wife Zoe Francis Blue Town trio. Zoe finds great lesser- known songs & finds new ways of performing them.
We met on a gig & hit it off & one thing led to another.
I was interested to learn that you are self-taught, and also naturally left-handed yet play the guitar right-handed. Do you feel that this might have hampered you progress early on, or do you think it has helped you develop your own voice on the instrument?
When learning to play guitar I didn’t think of left & right but by the time I realised I was playing the wrong way it was too late to change. It is technically limiting but the challenge is to maximise what technique you have in order to express whatever you’re trying to say. Not many can claim to be original but personal interpretation can be as important.
You have suggested in previous interviews that you may be one of the last of a generation of musicians who are self-taught, with many musicians now having studied formally at advanced levels. There is a school of thought that suggests that as an intuitive art form that relies on improvisation it is possible to overthink the possibilities open to you as an improviser at any time and thus restrict or impede the spontaneity of a solo. Do you feel that there is any substance in such a claim?
I’ve heard the argument of music education versus instinct and it’s true most of my favourites are self-taught but I think both ways are valid.
You have also indicated that despite approaching your 80th birthday you have no intention of retiring. So, what is next for you as a jazz musician? Are there any settings that you haven’t had the opportunity to play in yet that you would like to pursue?
I’m 80 years old this year & I guess I’m slowing down but I love to play & I intend to ‘ bop til I drop in as many musical settings as possible!
For Heaven’s Sake by the Jim Mullen Quartet is released on Stunt Records.
Click here to read our review.
