Russell Bacon’s Shine A Light is the sixth album in a long list of ‘dry martini’ music, collections of ambient delicious jazz music for the club. In a conversation this weekend, this one-man jazz ensemble Shined a Light on what goes into this gorgeous jazz (since I’m not an aficionado myself!) A simply tasteful collection of bluesy ear candy, Shine a Light and RJ Bacon’s work is too delightful not to endorse.
You’ve been playing for a long time, between careers. Where does the drive to create music come from? What has your journey as an artist been like
I started out in the mid 70s playing bass in a typical rock- garage band before embarking on a career in the film industry, which sort of put a stop to my music ambitions for years. I never had any formal lessons in music whatsoever. I learned a lot from my band mates back then – the basic chord structures and things – and the rest of it I’ve learned from books and the Internet, and by listening to loads and loads of other musicians. I was told that my father could play piano by ear, so maybe I also inherited something from him, I don’t know.
After I wound up the film company, I kind of fell back into playing music again, and I started building a recording studio here, though I was more interested in the production side of things at that stage. I’ve always had a fondness for jazz and always found it very relaxing, and once I got into Spotify, then re- acquainted myself with jazz artists, I thought maybe I should try playing a bit of that because it is my favourite type of music.
Over time I’ve listened to artists like Kenny Burrell, people like that, and really admired them, I thought, I can have a go at that as well. I guess over the last few years it’s gotten a bit slicker and a little bit tighter, but I still think there is sort of a human element to it, which maybe good or bad, I’m not sure!
What are your jazz inspirations? Musical influences otherwise?
I guess it’s the usual suspects like people like Miles Davis, Oscar Peterson, Art Pepper and as I said Burrell – but even going way way back when I was a child, I liked Glenn Miller. I just like that sort of cool, smooth swing.
Your voice just flows on these tracks, where you do sing. Have you been much of a singer?
I was certainly never a singer! I don’t feel I’m good at it, but I am pleased you find my voice fluid and jazzy☺) I try very hard, and it’s an area that I’m constantly working on and hope to improve. I don’t do a lot of vocal work on my albums for that reason, but I should do more. There is a lot to be said for being a ‘one man band’- you are always available, there are not many arguments, and they are usually resolved positively.☺ I do miss bouncing ideas off others though…
About Shine A Light
In terms of inspiration, it’s kind of a progression from the previous album, Roslyn Street, and the one before that, Low Ambition Day, where I tried to get a bit more minimalist with it all. Roslyn Street was a lot more bluesy and I quite like the way that turned out. It was well received, and I just started running more along those lines. That bluesy, nightclub jazz, the late night stuff that I really like.
Where did the title come from? What makes it all come together?
For Shine a Light I had a melody in mind and the phrase, Shine a Light, just fitted into it. From there I wrote the lyric, which is not that complicated. I wish I could say there was a big meaning behind it, but there isn’t really.☺
In terms of bringing the songs together as an album, I looked at it as if it were a setlist, and I was playing at a jazz club, with people not necessarily upfront listening, but just music behind while they’re sitting having a bite to eat or a chat with their friends- so it’s supposed to be atmospheric.
I listen to it now and I can hear a few ‘lumps’, but I tell myself that if I was listening to me playing in a bar with a small ensemble, and we were just a local jazz group you know, we would be playing off each other and that’s the idea, I just want it to be nice relaxing music not metronomic, I don’t like to play off the grid.
What was your favourite period of being a musician? What would you say your favourite of your own work would be?
If I had to pick a favourite time in my life to create music, it is right now, because of what we have at our fingertips, with computers and digital recording, it’s fantastic, you can build your own systems and work from home, collaborate via the Internet- magnificent! As for my favourite track, I think they all work together to make a nice piece, but I think Chubby’s Lament came out nicely. It’s maybe my favourite because it reminds me of the person I wrote it about, who has since passed on. We both liked that sort of music and it just brings back some nice memories for me.
and what about going forward? What kind of styles are you eager to explore?
While I think it’s important not to stay too long in your comfort zone, I’ve still got a few things I want to try before I broaden my scope. I’ll probably do another jazzy, bluesy type of arrangement that I’ve started tracking already, as the next album.
A friend asked me to try a bit of ‘House’ using some of my existing tracks, and mix that into a house fusion type arrangement. I did do one of those, but I need to adjust my mind set, as it’s a different way of thinking and recording. It’s definitely on my radar though for sure.
If you could invite someone down to the Sydney studio for a collaboration who might it be?
I’ve been having some chats with an Italian saxophonist, Bob Salmieri, who does some fabulous things over there, and I think it would be great to sit down and have a collaboration with him at some point, face to face, rather than trying to do it across the airwaves!
This wonderful collection is delightful & intricate, and couldn’t come more recommended! Do check out our curated playlists here for more. 🙂