Right, day 4 and we’re going to bring this right up to date because today is his 50th Birthday, and we’re going to talk about Andy Edwards.
And to talk about Andy, requires me to talk about drummers. Because, for the most part, I avoided drummers in improv situations for close to a decade. I played with a couple in that time who were AMAZING (Seb Rochford and Roy Dodds), but for the most part, I wanted to steer clear of trying to do my loopy-layering thing with drums. This was for a number of reasons – one was simply that there was more than enough groove-based music with drums on it happening elsewhere. It felt like a creative space that was pretty swamped and I didn’t at the time have anything specific I wanted to bring to it. But it was also because finding drummers that could follow as well as lead was really hard. Finding drummers whose sense of dynamics was a smooth line from silence to deafening, with everything in between being a possible choice, was REALLY hard. So many drummers that I heard playing in (idiomatic) improv settings assumed that their job was to play like it was a normal gig in whatever style they were most comfortable, and just leave the harmonic and melodic elements to everyone else, rather than treating it as a a genuine open act of co-creation with all the potential for variation that that supplies.
I obviously found the most brilliant foil for that in Daniel Berkman, but not long after that I also started playing with Andy Edwards.
Andy’s career path was one that saw him become a bit of a legendary prog/chops/crazy-time-signatures and polyrhythmic genius drummer, alongside playing with Robert Plant in Priory Of Brion. Not the obvious start point for a groundbreaking Stevie-Collaborator, but as we talked more (we teach in the same college – Andy manages the course, and found me online before convincing me to go and teach with him) his history in improv, and our shared love of so many experimental forms emerged. Particularly a mutual obsession with Miles Davis’ 70s output. So Andy and I started doing improv gigs. Initially with invited guests to come and play with us – Julie Slick, Jem Godfrey, Bryan Corbett – it was duo-plus-one, and we got to explore some fascinating territory with each of them (the gigs with Bryan and Jem are available to my Bandcamp subcribers!) And then we started playing as a more regular trio with the third part of our teaching team at Kidderminster, guitarist Phi Yaan-Zek, calling ourselves LEYlines.
Andy has brought two wonderful things into my music life again – one is playing with an acoustic drummer that has the most extraordinarily brilliant sense of space and dynamics, and the other is the option to get seriously heavy! That we can explore the intersection of metal and improv, blending it with all the other prog, experimental, jazz and electronic ideas that get thrown in by the three of us, is a joy.
Andy and I have a brilliantly interdependent relationship as a rhythm section. Neither is reliant on the other for anything, and can couple and decouple a groove for any given length of time. I can wander off into ambient territory, or noise, or weirdness of some sort, and Andy will do whatever he feels is the right thing to do for the music, rather than bringing any weighty expectations about what ‘ought’ to happen to the gig. His extraordinary technical and stylistic knowledge gives us so many places to go in any improv setting, and that coupled to the unpredictability of what he might turn up with gear-wise (it could just as easily be a guitar and a MIDI drum kit as a set of acoustic drums) keeps everything as fresh as can be. I look forward to every opportunity I have to play with him, especially in LEYlines where our shared and ever-growing vocabulary is an art project all of its own.
So happy birthday, you old bastard, thanks for keeping me constantly on my toes and making me reach deep for the best that I bring every time we play!
