European collaboration Criss Cross Europe are slated to bring their improvised jazz skillset to the historic Freemason's Hall on December 9th, led by renowned American drummer Jim Black. The band of Europe’s finest burgeoning jazz stars (including acclaimed Irish guitarist, Chris Guilfoyle), will create a unique night of music, juxtaposing the ancient and modern with fresh contemporary European jazz. Searching for the perfect mentor for six virtuosos, a delighted Jim Black got the call from Criss Cross, who work with Improvised Music Company, to oversee the pan-European team of talent.

International initiative Criss Cross represents how jazz is evolving in the modern landscape, while Improvised Music Company is constantly creating collaborative opportunities that allow a creative space for improvised music.

Having lived in Berlin since 2016, Black has since relocated part-time to Bern, Switzerland to offer his wealth of experience and expertise to eager students. The Seattle native admits to flying under the radar, despite playing alongside the likes of renowned avant-garde saxophonist and record label owner Tim Berne and trumpeter/composer Dave Douglas in his time.

Earning his education at Berklee School of Music during a time of incredible creativity and freedom, Jim later formed his own band AlasNoAxis with Hilmar Jensson, Chris Speed and Skúli Sverrisson. Winter & Winter has released several of the outfit's post-rock-infused jazz albums. He is also one-third of the group BBC with alto saxophonist Berne and Nels Cline of Wilco. The group released the album The Veil in 2011.

Though he is revered worldwide for his limitless technique and futuristic concepts, his audiences treasure the relentless feeling of joy and innovation he brings to his performances. A warm presence, his 25 years of performing have helped to bring jazz into the 21st century. Hot Press nab half an hour with the good-natured musician over Zoom ahead of Criss Cross Europe's Dublin show, which will undoubtedly dazzle concertgoers. It's a totally unique experience, but it won't mark Jim's first time in Ireland.

“I’ve played in Dublin for years back in the early ‘90s with Dave Douglas’ Tiny Bell Trio, Tim Bird’s ‘Bloodcount’ and my band AlasNoAxis," Jim beams as he glances down memory lane, potentially referencing Bruxelles. "There’s this tiny jazz bar I’ve played with Ronan Guilfoyle that had great energy. We’ve done a lot of shows in Dublin. My father’s family is from Ireland so I have some roots there. I’m still trying to figure out exactly where they were from within the country, maybe Antrim? Thank you ancestry.com for revealing some strange things!”

Black has played a major role in the incorporation of new sounds and techniques into the jazz scene, especially electronic and rock influences. Has he always been attracted to the life of a musician, or was there an epiphany moment later in life?

“I had always been into tapping ever since I was a baby, according to my father," Jim smiles, nodding. "I used to play along to the records on the plastic garbage pails and stuff like that. When I was about 10, I got my first drum set and was playing along to whatever was on the radio. I think when I was 12, we were jamming to rock tunes from Led Zeppelin, Jimi Hendrix, The Beatles. Later on, I was into Rush and The Police. Around then, I got asked to be in a professional big band for 14-year-olds. I met Chris Speed and Andrew D’Angelo, who I still work with today. That got me into playing jazz."

"Eventually, friends encouraged me to go to Berklee College of Music," the drummer continues, reflecting. "That idea of getting educated in the sound of whatever this was influenced me, so I studied for four years there and graduated with my friends. My parents didn’t have degrees, so it was really important to us. That’s how I got into jazz. I don’t think it was ever much of a choice about playing music or drums. I got lucky. Opportunities came up and I never really questioned it.”

After moving to Massachusetts, Jim Black, Chris Speed and Andrew D'Angelo formed Human Feel with guitarist Kurt Rosenwinkel, which rapidly attracted the attention of the jazz cognoscenti in Boston, New York and beyond.

By 1991, Black and his fellow band members relocated to New York City, where they electrified the Downtown music scene. Slots in Tim Berne's Bloodcount, Ellery Eskelin's trio, and Dave Douglas's Tiny Bell Trio ensued for Jim, and thus began 15 years of near-constant touring and recording. The likes of Uri Caine, Dave Liebman, Nels Cline, Steve Coleman, Tomasz Stanko, and Laurie Anderson are on Black's work roster, impressively.

“I’ve met people like the characters in Whiplash, but softer versions of those tales," Jim laughs, when asked whether the Oscar-winning drummer film has any accuracy. "There was so much talent in Berklee in those years. I could name drop for days! People like Roy Hargrove, who was 18, and Kurt Rosenwinkle - my neighbour - were there. You had Chris Speed, Dave Hughes, Chris Cheek, Mark Turner; everyone was hanging out at Berklee. Josh Redman was at Harvard studying law. The teachers still talk about this time because it was quite informative. The vibe was always super cool. They really wanted you to do the job and be yourself, so we had a lot of performance opportunities. More than the education part. We had academics classes combined with a tonne of playing. All kinds of music. That was the greatest experience, just the pool of getting to play. A lot of colleges around Europe could use that intensity. Getting together after class to hang out and play like we did back ‘85 to ‘89’ is what I encourage my students to embody. Be busy and perform, how else do you do it?"

With such a lengthy career of memorable gigs, choosing just one high point for Black proves difficult.

“Getting to record my first album as a leader was an all-time achievement. Playing France in 2000 for our second album was amazing - it was received like a rock concert. There were people lining up all down the street in Paris, that’s pretty surreal. Playing with Laurie Anderson in Chicago on the night of 9/11, after everything was shut down. That was incredible. All the songs were about New York City, which has just been attacked, and everything was cancelled that night. The promoter was like, ‘What do we do?’ Laurie said, ‘I don’t know about you, but I’m sick of watching TV. If there’s any time for music, it’s a time like now’. It was like going to church," Jim stresses, shaking his head. "It was wild. There have been hundreds of things I could tell you off-hand about having a life like this one. I’ve met so many great people. The concerts, the locations, the cultural institutions; it's all wonderful."

Compared to when Black began his career as a professional musician in the late '80s, the world has completely evolved. The drummer emphasises the mind-boggling value of the internet in terms of curating a personal platform, but notes that "having what it takes" isn't simply about sheer talent alone. His students aren't gifted with ability alone, it's about so much more than that.

“Careerism is a very particular thing now," Jim remarks, pausing to think. "It would be different if we were living in a world where there was a very clear pool to jump into. With the internet, there are people who are already very famous and successful on Instagram who will never need to do a live performance. There’s lots of options to be an artist, player or musician and make it in this world. I always encourage my students to really dig deep and find out what they want, and maximise whoever they are as an act, in whatever way that is. I can suggest a thousand things to help out, but I can’t give them the ideas. Everyone is unique, so find what your magic is and bring it to the surface of your art."

"That happens with some people immediately, but with other people it takes decades. The point is to work towards that," he adds, passionately. "You can’t rule anyone out. All it takes is someone running after that target. Everyone should be encouraged. I don’t believe in just spotting the most talented people. Some of the least talented artists go the farthest over time. I thought everyone should be a killer performer in Berklee back in ‘85, but it was a fantastic place for people who didn’t know how to play their instruments that well but had the will and desire. It took time for my arrogant 18-year-old mind to figure that out! You grow up and try to support people as much as you can.”

Criss Cross Europe sees Jim bring together his past experience and gift for compassion as a teacher in order to pick six entrants from six different countries for live improvised jazz performances. After a process of selection, Estonian saxophonist Aleksander Paal, Belgian trombone player Nabou Claerhout, Irish guitar talent Chris Guilfoyle, Scottish bass musician David Bowden, Dutch vocalist Sanne Rambags and Luxembourgish drummer Michel Meis have fused with Black’s signature flair to create unmissable nights of dynamic new music.

“I guess, at my age and stage, these are the fun things we get asked to do!" Jim says of the invitation. "I’m usually underground rather than on some famous, international platform, so it’s nice to be recognised for what you do musically in this lifetime. When someone wants you to coach people or present something, it’s just an honour to be considered.”

Ireland's Chris Guilfoyle was chosen to represent his country, had Black ever come across the skilled artist before?

“With these entrants, it worked out very naturally based on what I heard. I was just going for what made the most sense to me. When I saw the Irish line-up, I was like, ‘Oh man’ because I know Chris Guilfoyle! I met his father Ronan Guilfoyle years ago and we had done an album together," Jim grins. "Chris was in my ensemble when he did a workshop in Salzburg as a teenager. I remember his dad telling me about him when he was an adolescent. The numbers just worked out where Chris was the right choice for the Irish contingent. There was absolutely nothing wrong with any of the other entrants, it’s just about what fits the band. I’m very happy with the way that this worked out, members-wise.”

Given the cross-cultural facet of the jazz band, does Jim agree that the genre of music has an innate ability to surpass language barriers?

“Everyone speaks English and nothing’s impossible to communicate because of the age of the internet. I’ve played with people who don’t share any words in common with me. It’s no problem, because if you’re an improviser, that’s pretty much an international language; the act of getting together and making music. There’s not much to say. It’s different if you’re going for a specific genre or style, but to improvise means to do just that. That takes an incredible amount of trust in yourself and the other people. To me, that is the ultimate expression of music."

"It’s the hardest thing to do and it requires all of your experience to be able to do it at a high level," Black affirms. "I try to aim for projects with my bands where improvisation is a large part of it. That transcends all of our individual likes and experiences and we get to work it all out through the music. We’re doing that through the Criss Cross band as well. We all have different styles but when we improvise together, we have to play as a unit. We only have a few shows left but this is our chance to really shine. Audiences have responded so well to how we played as a band. We can’t ask more than that.”

The beautiful backdrop of Freemason's Hall will be brought to life in a manner of weeks, which feels extra special given the lack of live performances Dublin has been gifted over the past two years.

“Curiosity is a rare commodity, but it’s the kind of thing we need to cultivate. Are you curious to come and hear six improvisors from six different places making original music with the seventh coach? Not to mention spontaneously composing on stage?" Jim queries, full of zest. He makes a convincing case for himself and his mentees.

"These are incredibly dynamic, expressive people. Every musician has something strong to say, and that’s what crowds should expect. Audiences won't see this anywhere else.”

Get your tickets here to see Jim Black and Criss Cross Europe live at Freemason' Hall Dublin on Thursday, December 9th at 8pm.

Soundtrack: Umbra - 'Seattle', West (2018).