In the short film documentary ‘Jules at Eight’, a snapshot of Julian Lage’s life as a child prodigy crafted in 1996, a scene depicts Lage adeptly playing classical, blues, and jazz on full-sized guitars nearly as tall as himself. He professes that he has dedicated time to his guitar playing every day since the age of five, “Except for a single day when I had to travel and was unable to take my guitar on the train,” he ruefully adds, “And that day is truly regrettable.”
Upon reminiscing that past event, Lage chuckles, confirming that the situation hasn’t shifted now that he’s 36. Interestingly, he’s taken his daily training further by recording his sessions and replaying them for self-evaluation.
“This very morning, I was engaged in the activity,” he reveals from his Verona home, located roughly 25km away from Manhattan, New Jersey. “I possess an innate tendency towards maintaining archives, and discovering from hearing myself attempt a piece one day, then the next, and reflecting on each comparison. I believe one could exercise themselves out of an ability or into a predisposition. The idea of progress ascending linearly is not wholly factual.”
However, regardless of the merit of that statement, it could be challenging to perceive Lage’s musical advancement over subsequent years as anything less than upward.
Albeit there are many child and teenage sensations in the domain of jazz – pianist Herbie Hancock, drummer Tony Williams, trumpeter Roy Hargrove, and the contemporary Indonesian pianist Joey Alexander, to name a few – seldom do these extraordinary young artists mature into grownup virtuosos on the level of Lage. A select few have also exhibited such a liberal and exploratory approach to their music; the capacity to engage such potently with an audience, often surpassing the occasionally reflective boundaries of jazz; and an artistry that is enlarging and advancing continuously.
Singer and guitarist Chris Eldridge has spoken highly of Lage, declaring how impressed he is by the immense humanity that Julian exhibits in addition to his unrivalled guitar skills. They have collaborated on two acoustic guitar albums which naturally fuse elements of bluegrass, country, gospel, old-time music and jazz.
Béla Fleck, an accomplished banjo player, has admired the musical prowess of Julian Lage, who made his debut in 2009 with the album ‘Sounding Point’. The album, which also featured mandolin maestro Chris Thile, was credited with a Grammy nomination for the best contemporary jazz album.
Lage was born on the 25th of December, 1987, the last born in a family of five raised in Santa Rosa, a city in north California. His zest for creativity can be traced back to his family, especially his parents. His mother Susan, a woman of diverse interests spanning from Buddhism to interior design, was a source of inspiration to him while his father Mario was an accomplished visual artist who had opened his art gallery at the tender age of 12. Mario’s passion for the musical instrument, the guitar, influenced Lage since he was four years old.
Lage confesses that he was instantly captivated by the guitar, and his parents gifted him his own at the age of five. He relishes the connection he forged with his father over music and how it helped him discover his identity and purpose. His parents were the cornerstone of his musical journey, offering their undivided support as Lage’s talent matured and yielded recognition.
By the time Lage was eight, he had graced the stage with renowned musician Carlos Santana. At the age of 11, his recording career began with a collaboration with David Grisman, a legendary bluegrass mandolinist. As Lage approached his teenage years, he found himself touring with jazz vibraphonist Gary Burton and also performing live at the Grammy Awards.
Lage credits his parents for building a protective circle around him that allowed him to nurture his talent without fear of exploitation. They instilled in him the understanding that art and creativity were both beautiful and crucial aspects of life, and that the essence of music lay in its capability to trigger emotional responses rather than mere technical intricacy.
At the age of 15, Lage became a faculty member at Stanford University’s Jazz Workshop. He then pursued classical studies at the San Francisco Conservatory of Music, later moving on to the Berklee College of Music located in Boston. Lage completed his studies at Berklee at the age of 20 in 2008.
Ever since he stepped into the music industry, he has crafted 13 distinctively eclectic albums, blending elements of jazz, rock, folk, and classical (Gladwell). He has also partnered with the multifaceted guitarist from Wilco, Nels Cline (Room), created a solo acoustic album (World’s Fair), and included his personal trios, notably his cover-laden album Love Hurts. Lage has gradually revealed an aptitude for crafting his unique, evocative, and quirky original compositions. In 2021, he signed up with the celebrated Blue Note label and brought out three subtly revolutionary albums, having two featuring the chameleonic guitar legend, Bill Frisell.
Lage has also managed to collaborate and record music with a number of artists, such as the respected jazz veteran Charles Lloyd and the emerging R&B artist, Cautious Clay. He has even been involved in no less than 18 album creations with the unique New York composer, saxophonist, and experimentalist, John Zorn. Additionally, Lage has performed, co-produced albums, and created videos with his wife, much-admired indie rock/alt-pop artist, Margaret Glaspy.
The common thread through most of his extensive works is a profound fascination with the heritage of American music, specifically the critical role the guitar plays. Moreover, he consistently demonstrates a sincere regard and a deep appreciation for the elegance of melody and song structure. Lage’s playing style has a strong storytelling quality, particularly when he’s improvising. Consequently, it’s no surprise that he practices while listening to the speeches of notable public speakers like James Baldwin, Martin Luther King, and Barack Obama. “I have always been drawn to music that carries a narrative,” he states.
He has developed a guitar expression that pays homage to many of his musical passions, yet uniquely represents him. He has sharpened his skills by meticulously scrutinising and refining his vast array of talents. “I’ve spent my entire life learning what not to play,” as Dizzy Gillespie once notably remarked. This has allowed him to concentrate more on the kind of music that strongly resonates with him, primarily jazz.
As for Margaret Glaspy, she declared, “I can only express my personal experience of touring and constantly facing negativity from men.”
Having begun his career in blues and retaining a love for bluegrass, he now identifies unwaveringly as a jazz musician. The discipline and heritage of jazz fully captivate him, and he considers himself fortunate to have learned from some of the best in the genre.
Key among his inspirations were Gary Burton and the exceptional guitarist Jim Hall. Mr Hall was both a colleague and mentor until his passing in 2013. There are countless guitarists he respects, which covers a spectrum from Bonnie Raitt and Tony Rice to Ida Presti and Andrés Segovia. However, Jim Hall holds a hallowed place for him, as he was in a class of his own.
The magic of Jim Hall, he shares, is in the profound influence he had on his fellow musicians. He not only elevated their performance but, with his listening and responding skills, drew out their sensitivity, vulnerability, intimacy, and adventurousness.
These potent qualities can be discovered in his latest collection, ‘Speak to Me.’ The album features his established trio members, Jorge Roeder and Dave King, complemented by contributions from Levon Henry, Kris Davis, and Patrick Warren. This 13-track assortment of novel pieces possibly marks the fullest exploration of his distinctive talent and potentially his most influential record thus far.
Being produced by Joe Henry, known for his work with Lisa Hannigan, Glen Hansard and Rhiannon Giddens, ‘Speak to Me’ exhibits a captivating mix of early rock’n’roll, Django-style gypsy jazz, country pop, Spanish-themed elegy, and slow country blues. All these diverse elements are seamlessly linked and enhanced through his sophisticated jazz understanding and distinct musical character.
In an email conversation, Joe Henry mentions that his friend and lifelong guide, T Bone Burnett, a renowned producer and songwriter, asserts that magnanimity is the underlying feature of any exceptional artist. He is of the view that Julian’s craftsmanship is inseparable from his fundamental character of remarkable generosity, kindness and empathy. Julian’s musical journeys as a performer and composer are less about showcasing his expertise but more about using his skills as a medium of inquisitiveness, offering something of his humanity to his audience, connecting them to their personal experiences.
Despite the abundance in his album ‘Speak to Me’, Julian Lage admits, in a friendly banter that the album lacks the influence of Irish traditional music. A surprising omission considering the profound impact it has on many American roots and folk forms that holds such a prominent place in his music. He agrees with a laugh, saying “Absolutely, you’ve got that right!” He acknowledges the integral role of Irish music in most of the music he adores, and how he believes it to be an injustice that he hasn’t performed in Ireland yet.
Drawing from his experience in the bluegrass genre, he recognised that all paths led back to Irish fiddle traditions and, being a string musician, it’s almost an obligation to embark on this journey. He suggests that there are still many ties waiting to bloom and affirms his strong desire to perform in Ireland. ‘Speak to Me’ is now available with Blue Note Records.