Now you mentioned some of the things that you’ve been doing
with Harvey Schwartz, the Sheila Jordan-Harvey Schwartz duo. What kind
of…that obviously represents a whole new… I don’t want to say new, but a
whole different kind of challenge to you, working with just one instrument.
In this particular case, it’s the bass. How is that?
Well, it started way back, even before Steve Swallow. But
on this Blue Note album that you have, I mean originally I wanted that to be
a bass and voice - more bass and voice - and there are a lot of bass and
voice things on there, you know. Denzel sneaks in there, you know, Denzel
Best. But I had to…I did a lot of things even before Steve. This has been my
concept for many years, actually since the 50’s, and I did some things with
Peter Ind, when I was studying with Lenny Tristano, and I used to do some
things at this club, The Page Three, before Steve Swallow came there to
work. I mean I’ve always loved the bass and voice. I really hear the bass. I
did an album with a bassist from Norway, Arild Andersen, and that was my
first real try at doing the bass and voice and now this thing with Harvey,
the Palo Alto album, that has been out now for a couple of years and we have
really gotten a lot of concerts out of that and it’s sort of like a word of
mouth thing and I really enjoy it. I mean we’ve done the Ottowa Concert, the
Montreal Concert, and we’ve done outside concerts, thinking, “Oh God we’ll
never go, this is gonna be crazy, ridiculous.” But for some reason, it hooks
right in because for four years now, we’ve been doing this bass and voice
and it’s really gotten…we’ve become very, very close, and we do hope to do
some of those things tomorrow night at the Starlight Roof.