An Interview with Andrew Downing

In advance of the first concerts of the 2024-2025 Confluence Concerts, Young Associate Artist Aidan McConnell sat down for a conversation with Associate Artist Andrew Downing about Downing’s concert, entitled American Icons, featuring the music of Billy Strayhorn, Duke Ellington and Mary Lou Williams 

AM: What made you want to curate a show featuring these three composers in particular?

AD: Well, it's a continuation of something we did with Confluence during the pandemic. That was a strange time for everyone, and we were trying to keep Confluence going with an online season. So, we recorded a video performance. It was during the early part of the lockdown when we were unsure of how to do anything. We recorded some live sessions at Heliconian Hall with lots of masks, hand sanitizer, and tests. It was just piano, bass, and voice. Then we sent the recordings to some string players who added their arrangements. Given the pandemic circumstances, we thought that a 45- or 50-minute session would be enough to make a series of videos.

When it was time for me to decide on a project this year, I felt that the show deserved more time and space. So, I decided to present it as a live performance. We had a lot of Billy Strayhorn’s repertoire ready, and I wanted to include a few more composers who, to me, were part of the same musical family as Strayhorn. Naturally, Duke Ellington was one, given his collaboration with Strayhorn throughout Strayhorn’s career.

I also wanted to include Mary Lou Williams. Although she wasn’t directly associated with Ellington and Strayhorn, I feel there’s a strong musical similarity in how she approaches harmony, form, and her overall sound. She’s now famously recognized as someone who was under appreciated at the time, likely because she was a woman. In the 50s, 60s, and 70s, gender equality wasn’t on anyone’s radar, making it incredibly difficult for a female instrumentalist to receive her due.

AM: Do you know much about Mary Lou Williams’ background in composition? Did she start in classical piano and move into classical music composition?

AD: I don’t know much about that, but I can say there’s something in her music and Billy Strayhorn’s music that feels like an American take on Debussy and Ravel. I’m not suggesting it’s imitative in any way, but there’s a harmonic language and approach to harmony in their works that suggests a deep knowledge of classical music. You can hear Debussy and Ravel’s influence in Williams' and Strayhorn’s music, which makes it clear that they were well-versed in a wide range of music.

AM:Duke Ellington—his big band is iconic in the world of big band music, with Strayhorn having written many of the songs. Do you have much experience with that music as a player in big bands?

AD: Not particularly. It’s interesting you bring that up because I’ve noticed, especially in Canadian academic institutions, where many big bands form, that they tend to focus on modern music rather than Ellington and Strayhorn. Their music pioneered the big band sound, but what’s often played now is quite different. I think that’s partly why I wanted to highlight their work in this show. However, I haven’t played a lot of Ellington’s music. My experience comes more from playing Strayhorn’s tunes in smaller groups. He wrote some amazing pieces that are part of today’s standard repertoire, and I love his music. I always include a few of his tunes whenever I have a gig.

AM: When I was in music school, my teachers often stressed the importance of knowing the composers of the tunes we were playing. I remember realizing for the first time how many of my favourite songs were written by Billy Strayhorn and thinking, “Whoa, this is all the same guy creating such incredible music.”

AD:Absolutely. In the jazz tradition, especially since the 1960s, it’s become such a player-driven genre that we often know the musicians more than the composers. For example, you probably know how Joe Henderson sounds before you know Billy Strayhorn’s sound because we tend to focus on the players. I’ve always found it funny that when people discuss jazz records, they rarely talk about the tunes—they talk about the players.

AM: Do you remember when you first discovered Strayhorn’s compositions?

AD: Yes, I’m glad you asked! There’s a Joe Henderson record called *Lush Life*, which features all Billy Strayhorn compositions. It’s a beautiful album, and Henderson plays wonderfully. When I was in university, that was the first time I connected with Strayhorn’s music and thought, “Wow, these tunes are incredible.” That was when I realized how special the compositions were and how unique and identifiable they are.

AM: Could you share some thoughts on instrumental performances of Strayhorn’s songs that were originally written with lyrics, particularly your relationship with his lyrics?

AD: Interestingly, many of Strayhorn’s tunes were originally written as instrumental pieces before lyrics were added. For instance, Passion Flower and A Flower Is a Lovesome Thing were composed for big band and featured Johnny Hodges on saxophone. The lyrics came later. I’m not always sure which lyrics Strayhorn wrote himself and which were added by others, as sometimes lyrics were added to give the tunes more life. But I do know that Lush Life, one of Strayhorn’s most famous songs, was written when he was very young. The legend says he wrote it at 16, though he may have added the lyrics later.

AM:That makes sense because the lyrics have such a mature, dark perspective. It’s impressive to think he wrote them at such a young age.

AD: Absolutely.

AM: At this concert, will most of the performances, aside from the Mary Lou Williams’ pieces, feature vocalists?

AD: Yes, except for two instrumental pieces by Strayhorn. We’ll be performing trio music from Mary Lou Williams’ Zodiac Suite, which is a series of 12 pieces, each representing a zodiac sign and inspired by people she knew. It’s a lovely way to organize music and pay tribute to her friends. We’re performing five of those pieces. Additionally, we’ll play Strayhorn’s Johnny Come Lately, which is an instrumental, and Lotus Blossom, which Alexa Belgrave will perform. Lotus Blossom was always the last tune Duke Ellington played after Strayhorn’s death, so it has a deep emotional connection to Strayhorn’s legacy.

AM: Can you share a bit about how you met the vocalists and involved them in this project?

AD: I met Dérrell and Ineza during a recording session for a video game project with Volcano Theatre in Toronto. The piece featured vibraphone, three voices, piano, and double bass. I didn’t know the singers beforehand, but I was really impressed when we started rehearsing. They’re both in their mid-20s, like you, and are incredibly talented. I wanted to include young singers in this show, so I thought, “Why not invite Dérrell and Ineza to perform?”

We also have Suba Sankaran, one of Confluence’s Artistic Associates, joining us. I felt that having youthful energy in this concert, paired with such mature music, was the right choice.

AM: It sounds like you’re blending different musical worlds, which can enrich the experience for everyone involved.

AD: Absolutely. I’ve been listening to a lot of Billy Strayhorn’s music for voice and piano, particularly with the singer Ozzy Bailey, who has this deep voice reminiscent of Johnny Hartman. Dérrell has a similar baritone, not operatic, but with a sweet depth to it. That connection played a part in choosing him for this show.

AM: In your program notes, you mention something about music transcending genres. Can you elaborate on that perspective?

AD: I’m borrowing from Duke Ellington, who famously said there are two kinds of music: good music and the other kind. I’ve seen interviews where he expresses reluctance to categorize music as jazz, classical, or anything else. To him, it’s just music. I share that sentiment. While I understand the need for genres as a way to describe and organize music, I believe the most groundbreaking music often transcends those labels. Many pioneering musicians blend elements from various styles to create something new.

AM: That resonates with me, and I think it’s a perspective worth sharing. Thanks so much for your insights.  

AD: Thank you! It’s been a pleasure.

American Icons: Strayhorn, Ellington, Williams took place at Heliconian Hall in Toronto on September 25 and 26, 2024. Confluence Concerts is exploring possibilities to repeat the show in the near future. Stay tuned for more information.