Bill McBirnie is back with another album, The Silent Wish, and I was fortunate enough to get a few minutes of his time for an interview to discuss the new project (as well as the response to his last one).
My coverage of his previous release can be found here (link opens in new tab).
In this interview, Bill shares some quotes from writers about his last album, we discuss the new one and more.
Full Q&A along with links and music below.
It’s great to chat with you again. How have things been since the last album?
Not bad at all, Josh. As you will recall, the last release, Grain of Sand (with Bruce Jones), was essentially a world/Brazilian album, but some tracks from the album found their way into the spin cycle of Canada’s premier jazz station, Jazz.FM91 (which is a rare 24/7 jazz station with programming that has been recognized internationally). Grain of Sand was also nominated in two categories at the Toronto Independent Music Awards (TIMAs) – in both the (i) World and (ii) Instrumental categories. It ultimately won the TIMA for Best Instrumental album!
Were you happy with the overall response?
Absolutely! Like all of my previous releases, Grain of Sand has received consistently excellent reviews. And let me simply provide a sample of some of the press extracts (because these are a lot more), and take note that amongst them are accolades from a couple of world-famous classical flutists (…including one from the classical flute icon, Sir James Galway!…):
“…McBirnie’s brilliant flute technique and sensitive improvisatory style happily unite with Jones’ diverse skills and genuine gift for songwriting as they demonstrate their shared love for Brazilian music. You will sense the empathy between them immediately, from the opening track of the album, “Grain of Sand”, where bossa nova is fused with the plaintive melody of traditional Portuguese fado. Flickering like a candle caressed by the wind, the sound of Bill’s flute enchants the listener, right from the opening few bars. And following this tender opening comes a whirlwind of samba rhythms combined with hip-hop vocals and yet more flawless flute improvisation on “If I Stay With You”. Just the two opening tracks portray the scope of moods in the music awaiting you on the rest of this album!…” (LEONID AUSKERN, JazzQuad.ru)
“Hi Bill, I meant to write you months ago when I first listened to your record [Grain of Sand]. It is without doubt the most outstanding record by a flute player that I’ve heard in a very long time. I loved everything you did on it, including the overdubbing, the alto flute, and all the rest. It’s just a great record and I carry everywhere. In fact, I loaded it into my iTunes library so that I can listen to some decent flute playing while I’m on the road.” (SIR JAMES GALWAY, February 2016)
“…A fine album! I look forward to playing the tracks on Stolen Moments!…” (DAVID BASSKIN, Jazz.FM91, Canada’s premier jazz station)
“I have always admired Bill’s great technical facility, melodic clarity, and seemingly effortless inventiveness…Here he swoops and soars with his trademark mix of bebop and Latin jazz phrasing. The settings range from sambas and bossa novas (reflecting Bruce Jones’ Brazilian upbringing) to rock, hip-hop, fado and other folkloric elements that he has integrated into his own very personal mode of expression.” (PETER WESTBROOK, The Flutist Quarterly, Spring 2016)
“…McBirnie fits into this style of music perfectly as he demonstrates remarkable power and control. He is a superb soloist. As I listened to this CD, over and over again, I noticed how fluid all the arrangements were. The whole album flows, from one moment to the next…” (DAVID SWIDERSKI, BandBlurb.com)
“…The strategic interweaving of melody and impressive flute performances are an absolute delight…” (NICK KOTTENSTETTE, GigBand.com)
“This CD is wonderful! BRAVO!” (PAULA ROBISON, Distinguished American Classical Flute Soloist)
Of course, as always, I continue to do a lot of free-lance work here in Toronto, both live work and recording. And in a broad range of idioms because of my ability to improvise, and my extensive background in jazz, Latin, classical, pop, soul and…well you-name-it…kinds of music.
What can listeners expect when they sit down to listen to your new release, The Silent Wish?
Perhaps the easiest way to respond on that point is to simply quote from the publicist who described the album as follows:
“The Silent Wish is the latest release from Canada’s premier jazz and Latin flutist, Bill McBirnie, and it features Bill’s superior craftsmanship along with that of his longstanding and formidable accompanist, Bernie Senensky, in an intimate duo setting, brimming with pristine acoustic clarity. The album displays their uncommon levels of musicianship and simpatico as they explore a diverse range of material, integrated by a ubiquitous and enchanting “minor theme” inspired by Bill’s wife, Svetlana.”
How is this new release different from the last one and were you trying to accomplish anything specific?
This album was entirely inspired by—and is wholeheartedly dedicated to—my wife, Svetlana. It is a unique project in that it consists entirely of tunes that Svet chose herself, and what makes it especially interesting and charming is the fact that every tune she picked is in a minor key! (…And this is entirely in keeping with her Russian background!…) And that feature of the repertoire weaves a remarkably pleasing thread throughout the album.
Of course, there is a lot of breadth in the styles because Svet manages to come out to a lot of my gigs and she hears me playing in very different musical situations all the time. So there are jazz, Brazilian, folkloric as well as original tunes on the album.
Do you have a favorite piece from this album and, if so, then which one and why?
Quite frankly, I can never find a personal favorite on any of my albums. Fortunately, my wife is really pleased with this album. (…God knows what would have happened if she weren’t!…) But when it was finished, I asked her what her favorite piece was, and she actually couldn’t pick a favorite either. If anything, perhaps “First Song For Ruth” (written by Charlie Haden) might have a slight edge over the other tunes, if only because it was the very first tune she picked when I asked her what she wanted me to record for her!
Also, I might exercise some bragging rights here by saying that the first crit of The Silent Wish is in, and it is from no less than Sir James Galway himself…And he didn’t pick a favorite either…All he had to say was this:
“I want to tell you how much I enjoyed your latest, and greatest, CD. I’ve listened to it several times and it’s a really terrific record. You are my favourite jazz flutist…This album is a real knock-out!…”
Where are the best places to connect with you online?
The best places are:
(1) my website (www.extremeflute.com) which is both easy to remember, and easy to spell;
(2) at CDBaby (cdbaby.com/all/extremeflute) because all of my albums (including the liner notes) are available there; and finally,
(3) FaceBook (www.facebook.com/bill.mcbirnie.5)
Of course, anyone who would like to reach out to me directly can do so by email at extremeflute@look.ca
Anything else before we sign off?
I can’t really think of anything else, other than I am always enormously grateful as an indie artist if people would “crowdfund” The Silent Wish by simply buying or downloading it at CDBaby or iTunes. That is always support that is much appreciated, both morally and financially (and, quite frankly, I can say that it is musically worthwhile as well!…) And don’t hesitate to offer comments in relation to this – or any of my other – releases, because they are ALL good actually…I don’t even have a favorite amongst them!… 🙂
