{"id":3219,"date":"2021-08-31T14:27:47","date_gmt":"2021-08-31T19:27:47","guid":{"rendered":"https:\/\/postgenre.org\/staging\/4567\/?p=3219"},"modified":"2021-11-02T08:35:04","modified_gmt":"2021-11-02T13:35:04","slug":"changing-molecules-steven-bernstein-1","status":"publish","type":"post","link":"https:\/\/postgenre.org\/staging\/4567\/changing-molecules-steven-bernstein-1\/","title":{"rendered":"Changing Molecules: A Conversation with Steven Bernstein (Part One)"},"content":{"rendered":"\n

Since arriving in New York over forty years ago, Steven Bernstein has established himself as a powerful voice in music. One commonality across most of his work has been a consistent refusal to be boxed into a particular style or approach. Many may point to his relationship to the downtown music scene. In 1990, the trumpeter joined John Lurie’s iconic band, The Lounge Lizards, in its melding of jazz, rock, pop, and experimental music. Bernstein also worked with Bill Frisell, Bill Laswell, Laurie Anderson, and Lou Reed. He collaborated with the late Hal Willner<\/a> on several different projects over three decades and has released four albums for John Zorn’s Radical Jewish Culture series.\u00a0Part of the entry into that community comes from Bernstein’s immense skill as an arranger. A review of his arrangements also shows that the diversity of his artistry extends beyond these avant-garde influences. Ben E King, Elton John, Roger Waters, Jim James, Levon Helm, Woody Allen, and Lee “Scratch” Perry are among those who have called upon his expertise. And, of course, there are Bernstein’s arrangements for his own bands. With Butler, Bernstein & The Hot 9, he joined New Orleans piano master Henry Butler in breathing new life into songs by artists like King Oliver and Professor Longhair. Over the last quarter-century, his quartet Sexmob has obtained notoriety in part due to its fearlessness in covering the music of everyone from Duke Ellington to Prince to Nino Rota, each with an incomparable sonic twist. With The Millennial Territory Orchestra (MTO)- Bernstein’s take on big bands- he joins musicians he’s known for most if his career in visiting the compositions of the Beatles and Sly and the Family Stone, among others.\u00a0 We sat down with Bernstein to discuss his most recent project,\u00a0Community Music<\/em>, a four-part series scheduled for release on Royal Potato Family Records over the next year. Volume one,\u00a0Tinctures in Time<\/em> (Royal Potato Family, 2021), is MTO’s first album of entirely original compositions. Like much of his works, the songs are difficult to categorize, more focused on communicating with the listener than hastily applying labels.\u00a0<\/p>\n\n\n\n

PostGenre: Tinctures in Time<\/em> is a pretty incredible album, what…\u00a0\u00a0<\/strong><\/p>\n\n\n\n

Steven Bernstein: You know, I\u2019ve got to say something. This is the first interview I\u2019ve done for the album. It means so much to me to hear you say that about it. When I made the album, I played it for Hal [Willner] and told him that I didn\u2019t even know what to call this kind of music. Hal simply responded that \u201cit\u2019s Bernstein music.\u201d That made me question whether it would mean anything to people listening to it. I mean, can I ask you a question before you ask me anything? <\/p><\/blockquote>\n\n\n\n

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PG: Sure.  <\/strong><\/p>\n\n\n\n

SB: What is this music? <\/p><\/blockquote>\n\n\n\n

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PG: Well, it is hard to label. There is certainly a \u201cjazz\u201d element to it, but many other things are going on as well. It is an incredible recording. There is one song in particular, \u201cAngels,\u201d that is incredibly gorgeous. <\/strong> <\/p>\n\n\n

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