Mercury Award nominees Led Bib sport a beautiful contrast of punk, jazz fusion with a healthy bit of manic improv, of which has certainly caused a stir with critics. Drummer Mark Holub speaks briefly of being misled, praised, and the results of fusing contemporary elements within a jazz idiom.
1. Have you always had a particular idea of a set up for Led Bib? or did it more or less fall into place?
Not really, the plan was to make a group which could play all the sorts of things I was interested in at the time. It actually started sax/trumpet/guitar/bass/drums. It changed gradually but when I got the right players in I knew it was right. Some people have a really grand vision of what they want to create where as for me it’s more of a pragmatic organic process…sort of,what can I create with what I’ve got.
2. Do you plan on incorporating any other popular music styles into your music apart from the labelled ‘punk’ jazz you seem to be carrying currently with your music?
Certainly not any plans. I think the ‘punk’ tag is slightly misleading, we are a jazz band that happens to use elements of groove, noise, etc, but I would say that punk is a slightly strange comparison, but I suppose they are thinking of the energy of punk, which I suppose is right. We try to let the music grow organically, so you never know what might be popping up in there though.
3. How does it feel to be nominated for the Barclaycard Mercury prize? Did you expect this?
Amazing. As a jazz musician, certainly working in a more contemporary field in Britain, you can’t help but be aware of the prize and the implications of a nomination so we were certainly aware of it as a possibility, but actually getting it…well that came as a complete shock to me. I still am grinning.
4. Who are your main influences for producing the music you play? Are there any unexpected influences in there?
When we first started Zorn was a big influence, but I think that has gone away a bit. I think the biggest influence is actually each other. Over the years it sort of has been just allowing each other to play naturally and that then changes the way everyone plays in reaction to it.
5. Do you think incorporating popular music styles within a jazz idiom results in larger audiences? Or are the majority of your fans from a more ‘jazzy’ background?
Well, hard to say. I think we do get a mixed crowd, some people who are die-hard jazzers and some who are more interested just in new music. There are a lot of people interested in more traditional jazz who wouldn’t touch Led Bib, but I think that we are opened to a slightly bigger audience, whether they come to hear it is another question.
6. If a famous mainstream artist offered you personally the chance to play for them long term, for a large sum of money, would you accept, or continue to play with Led Bib?
I suppose it depends on who it was. Led Bib continues regardless of whether we are currently playing, so a year off would be fine. But, for me, music isn’t about the money, if it was I certainly am in the wrong band. There are some more mainstream people I really respect and if they felt what I was doing was interesting to them, then sure, but to just be a session player, no way.
7. Are there any other projects you or your band members are working on besides Led Bib?
Yes, many others…probably too many to list or remember. Liran has a new project with me and Chris and a currently rotating sax chair, Toby is doing some producing, Pete is doing some soul, Liran and I work together as Blue on Blue Productions….so basically, yes.
8. I have noticed a particular fashion style with Led Bib and musicians who produce similar music to yourselves, what are the reasons behind this look?
Oh my…I hadn’t thought of that. I wear whatever my girlfriend tells me to.
9. Have you played many gigs around Europe? And if so, how do they differ from performing in the UK?
We tour in Europe fairly regularly. Obviously it varies from venue to venue, but in general they treat you a lot better, giving you nice food, good hotels, good fees, etc, but of course there are some great venues in the UK too!
10. After attending the North Sea jazz festival this year it seems that jazz festivals seem to concentrate more on ‘commercial’ jazz, what are your thoughts on this?
We played North Sea last year and yes they did put on some really commercial stuff as well as some ‘out’ stuff. I think if they need to put on someone commercial to put on the more interesting stuff then that’s fine, but the question is, would the more interesting stuff actually draw more people if the promoters believed in it more…hmm….that’s probably the million dollar question. That said, I think North Sea particularly is an amazing festival, but there are some festivals which seem to put people who have no association with jazz as the headliners, that always seems a little strange.
11. I can safely say you are currently influencing jazz and pop students such as myself to produce diverse and eclectic music at Leeds College of Music. How does this make you feel whilst knowing that you previously studied there?
It’s an honour to think that anyone would be inspired by something that I have done. I think it’s easy to forget sometimes when you are working in ‘the business’, but that moment that you realize that you have touched someone with what you are doing…well, what’s better than that?
reported by Eleanor Churchill
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