Born in Newark, NJ, trombonist and composer Steve Swell has been a vital force in the New York City music community since 1975, performing and recording with artists ranging from Lionel Hampton and Buddy Rich to Anthony Braxton, Bill Dixon, Cecil Taylor, and William Parker. He has released more than 40 albums as a leader or co-leader and appears on over 100 other recordings, while also teaching internationally and working extensively in the NYC public school system with special needs students. His work has earned numerous honors, including recognition in the DownBeat Critics Poll, awards from USArtists International and LMCC, commissions for the Interpretations Series, and the Jubilation Foundation Fellowship. Swell has also been a teaching artist with organizations such as the American Composers Orchestra, the Jazz Foundation of America, and Mind-Builders Creative Arts Center.

How would you describe music?

Music, and sound, is something that is always ready to be created. By that I mean there is air all around us waiting to be turned into sound by the use of different materials; wood, brass, etc. These materials are then turned into the instruments that use the air to create music and sounds. These instruments vibrate the air turning it into waves. When the air is moved faster by the instruments, and the air is turned into vibrations that is when these vibrations are literally felt by the listener. The listener then translates and organizes those felt vibrations, by way of the ears and brain, turning them into the experience of music.

What is your relationship to music?

I've playing music since I was 9 years old. It's been a constant in my life since then. At some point that relationship turned into a realization that this is the only way to go through life for myself. It wasn't a conscious decision on my part. It evolved naturally and I never thought of doing or being anything else other than a musician. It's one of the few places in life where I can go and be myself.

What draws you to the instrument(s) you play, and/or to composing?

I really didn't choose the trombone. It chose me. For whatever reason however I believe I am blessed in playing it. Its overall popularity has waned for whatever reason and I am not asked to play or make specific commercially acceptable music. That makes me free to let my imagination roam and make decisions to try whatever avenue of music I am drawn to. I feel unencumbered by any expectations from audiences, record labels or critics to turn the sounds I am prompted to explore. By what I am feeling and hearing at the time, I let the music take me to unanticipated places. It is no different for my composing.

What groups or musical communities have you been part of, and how have they influenced your playing or composing today?

I have been a long time member of the so called "downtown" NYC scene and what I call the more "traditional" avant-garde. In the 1970s and early 80s I was a "professional" freelance musician working in salsa bands, r&b bands, broadway pits, big bands, etc. All very different music communities which gave me a great variety of experience. All of which is part of my playing and who I am today. One example of a genre that helped shape my playing was my work with salsa bands. I found that with such a steady solid rhythm from the bass, the timbales, etc. I was able to move away from the tonal center and go anywhere I wanted to and then land back in the tonal center to tie it all together. At one point, due to the encouragement of Makanda Ken McIntyre, I began to really commit to exploring "creative" music in all its different forms. From the late 1980s on I was fortunate to play in the groups and be in the orbit of Herb Robertson, Tim Berne, Joey Baron, Makanda Ken McIntyre, Jemeel Moondoc, William Parker, Alan Silva, Cecil Taylor, Bill Dixon, Rob Brown, Joelle Leandre and many more.

What musician(s) most influenced your approach to music, and why?

Roswell Rudd I have always said is the one musician who literally lit the neurons in my 15 year old brain and woke me up to hearing more adventurous sounds. I have never looked back. Over the years I have grown and explored different music and other musicians of course. There are so many that there are too many to name. A partial list would be: Roswell Rudd as I mentioned, Jack Teagarden, Jimmy Knepper, Paul Rutherford, Cecil Taylor, Makanda Ken McIntyre, William Parker, Herb Robertson, Grachan Moncur III, Roscoe Mitchell, Anthony Braxton. Marshall Allen and Sam Rivers for longevity and perseverance. I am sometimes inspired by a musician I am playing with when the glint of an idea catches my attention from that musician that may inspire me to use or incorporate that idea somehow.

Who or what influences you most outside of music, and why?

Family, friends, books, poetry and art. All of these things contribute to my growth as a human being which I believe is more valuable than memorizing a bunch of patterns. To make good music I think you have to strive to become a good human being. They are connected.

What deceased performer(s), improviser(s), or composer(s) would you most like to have a conversation with, and why?

Galina Ustvolskaya. I'd like to know how she came up with her ideas and how she had the courage to present her music, especially in Soviet Russia.

What advice would you give to a young musician entering your field?

Do what you want to do, not what others want you to do. Get as much live playing experience as possible. Stay focused on yourself as a human being by exploring, growing and being respectful of who came before you and learn from them. Be aware that we are all trying to figure out what our best selves are through music. You should respect or understand that even if you may think certain musicians or genres are stuck in some approach you may think is less than what it could or should be.

What do you hope audiences take away from experiencing your music?

To have some sense that they heard something that they hadn't heard before or didn't believe was possible on the trombone specifically. To surprise them. Give them a feeling that that was cool. I hope the experience of hearing me or a group I am with makes them want to try something creative for themselves. Even inspiring them in the moment. As an audience member, if I'm listening to something; music, poetry, I will take out my notebook and write an idea inspired by that performance in that moment whether its a lick, a rhythm, a line of poetry or an idea for a painting. It could be anything. That's why it's important to go to live gigs. Live gigs reassemble your neurons in real time.

Where do you see the music you're involved in heading in the coming years?

I have ideas and projects I am working on. I am doing more improvising gigs than presenting a regular group. But in actuality I am really already doing these things and I don't think that will change. I need to do more solo gigs than I have been. I like surprising and challenging myself anyway I can. It's too much a part of who I am. What that means is that I am open to a lot of directions.

If you could shape the future of this music, what would it look like?

People just listening, turning off the mind chatter and taking it all in. That seems to get harder and harder with all the distractions that are available. I find myself now, if I'm listening to someone and I start judging what is happening, I recognize that and will shut that off and not be overwhelmed with the thinking part which keeps me from possibly enjoying it. As for music itself, I like to be surprised no matter what shape the music takes. I don't want to predict something about music's future. It would ruin the surprise.

Where are you currently located or musically associated with?

I am located in the Union Square area of Manhattan, just above where the East and West Village meet. I have many established friendships and colleagues all over the world which gives me many options to play and/or compose in many different musical environments.

What is your musical education or background?

I largely credit my father and New Jersey public school music teachers in prompting my early curiosity in listening to many forms of jazz which led me to the blues then rock & roll and much more. For my "formal education", I went to Jersey City State Teacher's College (now New Jersey City University). I left after 2 years to go on the road with a top 40 band which led to many many gigs eventually finding myself where I am now, all of which was an education. I completed my Bachelor's degree at SUNY Empire in 2016.

What are some of your favorite recordings by other musicians or groups?

So many, hard to answer but here goes:

Two Days in April ; Fred Anderson, Kidd Jordan, William Parker, Hamid Drake

Dortmund Quartet 1976 ; Anthony Braxton, George Lewis, Dave Holland, Barry Altschul

Archie Shepp Live in San Francisco ; Roswell Rudd, Donald Garret, Lewis Worrell, Beaver Harris

Excalibur ; solo recording by Wolter Wierbos

Anything by Jemeel Moondoc, Galina Ulstvolskaya, Sun Ra, Eric Dolphy

What are some of your favorite recordings that you have made?

Brain in a Dish (with Michael Vatcher, Robert Boston)

Soul Travelers (with Jemeel Moondoc, Dave Burrell, William Parker, Gerald Cleaver)

3 CDs I did with Peter Brotzmann and Paal Nilssen-Love

The Loneliness of the Long Distance Improviser , Solo CD

Music for a Free World (Dave Sewelson, William Parker, Marvin "Bugalu" Smith)

What's something you rarely get asked in interviews that you wish people would ask — and how would you answer it?

I don't really think I'm asked enough to do interviews, LOL. I would say I'm not really asked about how it is to freelance in this music; getting gigs tours, recordings, composing, etc. I would answer by saying being organized, devoting time everyday for contacting people. I do this in 1 hour blocks with a timer. Be respectful of promoters, venues, labels, even when they reject you. In other words be diplomatic. Keep up on what's happening as much as possible all over the world with different musicians. I also try to compose in blocks of time but largely I would say I have to have an idea or some cause that I'm interested to create a project and then go from there. I depend too much on that or deadlines. I would like to compose only for the sake of composing, which I am doing more of these days. Be curious.

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