“We are only ready to undertake a piece of work when we have completed that piece of work. Doing the task prepares us to do the task: we are learning on the job. So, clearly, we don
Studio
Friday we began recording the next Stone Document CD. We convened at Glen Brook Studio (a.k.a. Tirch Manor) Friday night, set up our gear and did what could only very loosely be considered a sound check. Our plan was this: we would improvise and record Saturday and Sunday and then Doc and I would spend Monday compiling and reviewing what we had done. We hoped to get a handful of decent pieces that could then be edited and re-arranged into diferent structures to form the framework of the album. Friend and fellow musician Mike Dennis would be engineering for us (if only his middle name was Mark). So it was me, Mike, Dennis and Mike Dennis (simple, eh?).
This is my absolute favorite way to record: all of us living and recording together in the same space. Working at a comfortable pace is possible because when we are ready we just walk in, pick up our instruments and (after getting the thumbs up from our engineer) play. By the time Saturday evening rolled around we had several good-sized and hopefully sonically acceptable takes. Saturday night we had a few spectators including NYC-area Crafty Tim Butler. I thought that having an “audience” would effect they way we played but when we reviewed the tracks on Monday I couldn’t tell which were done that night.
Sunday was also spent tracking and we got a few more strong takes. By the time Monday rolled around we had almost 25 pieces, though they were all in different stages of acceptability. Some assembly required. All in all it was a very productive weekend. Mike Dennis was a great help and his presence was definitely a contributing factor to how easy the sessions felt. The other three contributors to this batch of work were our wives. Jaclyn and Eileen feeding and cleaning up after us and Elizabeth holding down the fort back home thereby allowing me to be there 100 percent. Us boys are pretty lucky – and we know it.
And now we move forward.
Anamnesis
If you are still trying to find the perfect gift for the prog rock fan on your holiday shopping list don’t forget Stone Document’s first CD is available at CD Baby (http://cdbaby.com/cd/stonedocument).
Merry Christmahanaukawanzadan!
Sudden Return to 51 Main
Got an email on Friday from Kareem on behalf of the management of 51 Main. Apparently the performers booked for both Friday and Saturday night cancelled and they were anxious to fill those spots. As I’d been contemplating booking an evening for a couple solo sets I used this as the pointed stick to get me moving. I offered my services for the next night (Saturday) and suggested Kareem join me for one set. He jumped on board and we were good to go.
At some point during the morning on Saturday Kareem met up with Brian Robison (mutual friend and composer/thereminist/guitarist/synthesist mentioned here before) and it became apparent that adding him into the mix for that night would be a good idea. Kareem left a message on my voicemail making this suggestion. I got the message as I was driving up to the venue that evening. So it was a very pleasant surprise to walk in and see Kareem’s upright bass and Brian’s Moog synth set up in the “stage” area.
I dragged my rig in and set up between them. The first set was just me and an embarassing array of electronics doing my “Bill Frisell on acid” routine. The set was mostly improvised with one piece touching on a Zappa theme for a few minutes. It wasn’t the apex of my musical career but it wasn’t too bad.
After a short break the three of us launched into what felt like a pretty coherrent musical conversation. I was really enjoying getting to sit between these guys as we played – the best listening spot in the whole room. There were times where the sound of Brian’s Moog and my looped guitar sounded so similar it was hard to tell who was doing what. We wandered pretty far out and then meandered back (musically speaking). I love playing with improvisers who actually LISTEN. Fun stuff!
Speaks for Itself
A Friendly Reminder
Press
From the Franklin Lakes Journal, a description of the Sept. 13 Stone Document gig:
“The sound(s) soar to the sublime, skronk through the ridiculous, and send the listener on an aural trip.”
Lightbulb Moment – I
Ya know how in a cartoon, when someone has a brilliant idea, flash of inspiration or epiphany a lightbulb appears above their head? That’s what I call a “lightbulb moment”.
I was listening to the recording of the improv gig at 51 Main and I realized – I very clearly sound like me. I am constantly juggling gear and trying new set ups, but it always sounds like me (at least, well, to me). I have a singular voice that is my own. This simple realisation gently pushed me forward from the static position I’ve been holding on finishing tracking on the solo disc. What am I waiting for? The perfect signal chain to appear in a dream?!?
Tomorrow, I begin again. Again.
Words of Wisdom – I
“Composition is like a pub crawl: You just have to take it one bar at a time.” – Brian Robison, composer/thereminist
51 Main Improvisational Frenzy
The loose collective of improvisers I play with occasionally (which is dutifully herded by my friend Kareem Khalifa) did a brief set (well, actually 2 very brief sets) at 51 Main in Middlebury last Saturday. Kareem is on the short list of my favorite people on the planet and the even shorter list of folks I play with that actually know how to improvise. The purpose of the event was to highlight/celebrate the visit of his friend percussionist Mario Schambon who was visiting. The line up was me (guitar & realtime looping), Kareem (electric upright bass), Mario (drums & percussion), Karl Haas (percussion), Brian Robison (theremin & guitar) and Marty Fieldman (guitar).
The plan was to get together during the day on Saturday, play a little at Casa Khalifa to get musically acquainted and run through one of Marty’s pieces and then do the set that night. The afternoon was great, with lunch (Mario made soup) and a lot of laughter. I always find that if musicians laugh together it’s an indication they will connect musically. This turned out to be the case. So we ran through some things to get comfortable, including introducing the format we used for “Please Excuse the Mess” and then packed up.
The gig began with what was supposed to be the soundcheck but evolved into a mini-set. It started with yours truly doing a small solo improv that built up some ambient loops that the others played over (each musician joining in in their own time). I let my loops continue and sat down in the audience to listen. It’s a rare treat to step aside and get to listen to the group you’re playing with.
Then Kareem and Mario did a quick set with Arthur Brooks (trumpet), Michael Chorney (barritone sax) and Peter Hamlin (keys). They did a couple of free improvisations that were really nice. It was also a treat to hear Michael playing the barri sax. We had worked together in another project of his called The Seven Deadly Sins – a band that did arrangements of Kurt Weill’s music (mostly from Threepenny Opera). In that context Michael played accoustic upright bass.
Then it was our turn again. We did Marty’s piece, Please Excuse the Mess and an improv based around all of us playing repeating 8th notes (of our choosing) together and then taking turns soloing over it. Kinda like Steve Reich with ADHD.
All in all it was fun, intermittently listenable and pretty much ignored by the assembled crowd. Business as usual for improvisers in this neighborhood.