BAND OF GYPSYS REINCARNATION “Electric Angelland” (2013)

Band of Gypsys Reincarnation: Electric Angelland is a spectacular live celebration of the music of Jimmy Henrix performed by Steve Gadd (drums), Eddie Gomez (double bass), István Fekete (trumpet), and band leader, László Halper. The album was recorded live in 2012 at the Palace of Arts in Budapest, Hungary. In addition to the main band, there are two other additional horn players; Ákos Csejtey (tenor saxophone) and Kollmann Gábor (alto saxophone). I was honored to finally discuss the project recently with László Halper this week and discover how the whole idea was originally born.

Malcolm Moore: What originally inspired you to re-imagine Jimmy Hendrix songs in improvisational jazz/funk/blues styles?

Laszlo Halper: I was about 19 when I read tha article from Bill Milkovsky. The title of the article was “Hendrix and Jazz.” In this article I read Hendrix and Miles Davis planned to play together. Until this time I played just blues and rock music. After it I sterted to learn jazz because I had a dream I will try to combine Jimi’s music with jazz. Jimi said in his last interview that he want to make a bigger band with more instruments. In September I will play with a violin players, I’m very interested in how work it with Jimi Hendrix’s songs.

MM: How did you originally meet Steve Gadd and Eddie Gomez?

LH: About this time (1986) I saw a Steve Gadd video tape that he teaching a different styles. This was fantastic. Since then, he has been my absolute favorite drummer. On this tape he played with Eddie Gomez too. Since this time I’ve had a big dream to play together with these 2 great musicians. I recorded the first CD of Band of Gypsys Reincarnation in 2010 featuring Randy Brecker. I sent this CD for Steve and Eddie. They said they liked the CD. I was very happy and tried to organize a concert that was tribute of Jimi Hendrix 70th birthday.

MM: Tell me a little bit about working with Steve Gadd? What is your favorite recording or performance of his that has inspired you over the years?

LH: I think Steve Gadd is musician of musicians. He always finds the best solution in every situation in the music. For him, it’s very important to make music with feeling and groove. He’ll never do something on the drums just to show that he’s a great drummer. That’s why he is the best drummer in the world. For example, when he played in the Buddy Reach memorial concert with other 2 drummers, he was the only one who played music on the drums; not some drum solo with lot of tricks. That why the audience and the musicians screamed during his solo. It’s very difficult for me to choose a favorite recording from him, but I do like Al Jarreau’s “Spain” album with Steve Gadd on drums.

MM: Tell me a little bit about working with Eddie Gomez? What is your favorite recording or performance of his that has inspired you over the years?

LH: Eddie Gomes a fantastic bass player. He can play on the acoustic bass, not just swing, but funk grooves too. He has a fantastic, original sound. I like the Steps Ahead album called “Smokin’ In The Pit” very much. On this album, Steve and Eddie play together. This is my favorite Steps Ahead album.

MM: How did you go about selecting the other wonderfully talented and eclectic band members in the band, including; István Fekete, Ákos Csejtey, & Kollmann Gábor?

LH: This musicians are great musicians and my very good friends, too. They are the cream of the Hungarian jazz scene. I like very much to play with them.

MM: It’s illuminating and at times even shocking to hear this Hendrix music with so much space, dynamics, and sheer ebullience. What was it like to be in the eye of the storm for the rehearsal, the show, and what was the audience reaction?

LH: When I started arranging the jazz versions of Jimi Hendrix songs, I had a two purposes; Make a different jazzy sound, but also preserve the original Jimi’s sound that is most important and most typical in Jimi Hendrix’s music. Eddie and Steve absolutely understood it, and that why on the rehearsal was very easy to find a our joint sound. The people liked it very much at the concert because Steve and Eddie had given Jimi’s energy with lot of great original ideas.

MM: There are two additional, non-Hendrix, song selections: “Beginnings” by Mitch Mitchell, and “Blackbird” by Lennon/McCartney. How did those tunes end up in the set?

LH: “Beginnings” was recorded by Jimi Hendrix and I think it is a great song. Jimi played The Beatles’ songs and I liked it very much, as well as the Beatles’ music, too. When I made an arrangement of “Blackbird” I thought it could be great to play with Steve Gadd because the sound that I wanted to hear on the solo part would be great with Steve playing the snare drum with brushes.

MM: What was your favorite song that you performed from this particular recording and why? Also, which song was the most challenging?

LH: My favorite song was a most challenging song; “Have You Ever Been to Electric Ladyland?” This is a great, but difficult song. It has lot of changes on the measures when the 4/4 changes to 3/4 and then 2/4.

MM: Will Band of Gypsys Reincarnation: Electric Angelland ever be released on DVD/Blu-ray? I see there are a few great clips on YouTube already!

LH: I can’t release it on DVD because it costs a lot of money. This CD was published by me, and I had to borrow money for that!

MM: I have been to Hungary a few times. Did the band have any of my two favorite drinks there, Espresso or Unicum?

LH: We like the Espresso and Unucum too…but not the same time!

*I also had a chance to speak briefly with István Fekete, who played trumpet on Electric Angelland. Here’s a few additional thoughts he had to share…

IF: I have played in hundreds of bands, made albums, and had many, many concerts before here in Hungary. But, with Eddie Gomez and Steve Gadd on stage I felt – for once in my life – I could have climbed to the top of the ladder and I could show my soul. Their responsibility in music, the tempo and the purity of their playing made my notes real. I loved the relaxed feel, and the precision in both of their playing. I wish I had played better, but it wasn’t easy beside every day teaching, with a trumpet that I just got for that day from a very good friend. I am still searching for a trumpet that is clear up and down and has that warm jazz sounds like Miles Davis or Chet Baker had.

Two months before the concert, I started to listen to their music and collaborations with many musicians. After hours of listening to them I felt like I almost got a heart attack. (Bil Evans, Miles Davis, Chick Corea, Al Jarreau, Chuck Mangione, Simon and Garfunkel!).

Finally; two very good memories for me:
In a short break between two songs I played, “I’ll Remember April” to check the sound of my microphone with the Harmon mute. After one or two measures, first Eddie, and then Steve joined me. It was unbelievable and unforgettable to play a simple jazz standard with two big names who played with all of my heroes. After this Steve looked at Eddie and said: “Did you hear his playin’,…his sound?”

Then after a rehearsal, at the elevator Steve pointed at me and said to Eddie:
“He looks like Gene Wilder.” Then we all looked at the mirror ahead us and we all laughed. It was true!

Finally I would like to say this all couldn’t happened without my very good and true friend László Halper, who created out this tribute to Hendrix with jazz musicians.

Band of Gypsys Reincarnation: Electric Angelland is available on iTunes:
https://itunes.apple.com/tt/album/electric-angelland/id808724443

CDBaby:
http://www.cdbaby.com/cd/bandofgypsysreincarnatio2

MICHAEL BERNIER “Veil” (2013)

MICHAEL BERNIER “Veil” (2013)

Leave it to multi-instrumentalist/composer Michael Bernier to conjure up something fierce!

VEIL (2013) is his follow-up to the equally brilliant LEVIATHAN (2011). Once again, Bernier shines brightly on drums, Chapman Stick, Rhodes, piano, cello, violin, tabla, vocals and bowed stick. On a several tracks, he is joined by Kandy Harris (vocals), Dave Bodie (drums), Martin Keith (bass), and Colin Almquist (bass). I recently had a chance to discuss this new masterpiece with the maestro himself…

MM: How did your strategy differ this time around? What did you want to express differently on VEIL that you did not on LEVIATHAN?

MB: LEVIATHAN was my first attempt to compose entire pieces in my own voice on multiple instruments. I listen to it now and hear lots of things I would do differently. The voice is there. The intention is there…but I was still developing my inner conversational skills. I try to make my music interestingly technical and melodically evocative…but mostly the latter. VEIL is less “hey look what I can do!!” and more “Hey look what I can make you feel”. My goal was to improve the formula with tracks that were interesting, memorable and accessible …not just “proggy” or “mathletic”…something that didn’t alienate everyone but musicians.

MM: What artists/musicians/music inspired you on this album? I hear hints of things here and there, but I am curious if these glimpses are from your youth or people you are currently listening to now?

MB: I seldom listen to anything new that falls within the genre of music I play lately. Usually new influences, I notice, are inadvertent. I could listen to the soundtrack to the Shining and the next day have an idea that is inspired by the feeling it evoked that sounds nothing like that. On the other hand there’s the inescapable tendency to emulate players who made impressions on me when I was younger. So that being said I find that I can’t avoid certain sounds and phrasings I enjoy playing from Alan Holdsworth to Johnny Marr to Stanley Clarke to Tony Williams to Stravinsky to Samuel Barber to Jean Luc Ponty to My Bloody Valentine to Zappa…yada yada. I listen to everything so it’s an amalgam really.

MM: Your music shifts moods quickly, song to song, and sometimes even several times within a song. Is this natural to you/part of your spontaneous mindset, or was this a concerted effort?

MB: Well I shift moods quickly all day…I think we all do. There are many moments where I would love to sustain a mood…capture it in time but life doesn’t seem to offer that luxury with any continuity. I feel music should be appropriately like this, fluxing, organic and seemingly unpredictable yet each moment should be the result or product of the last…and ideally resolution…so I suppose it is my mindset. lol

MM: Were you raised on jazz and encouraged to improvise?

MB: I was raised with two parents who listened to everything. My father is responsible for making me actually “listen” to music. I grew up in a house where downstairs my dad was blasting Mahavishnu Orchestra and I was upstairs in my room listening to Bauhaus or The Smiths. Eventually I started to try playing violin, which drew me towards Jean Luc Ponty and Stefan Grapelli. Through the years I taught myself to play many instruments by ear. I like Jazz…but have never felt like a jazz musician. As far as improvisation, I was musically illiterate till a few years back when I decided to start decoding my own music for other musicians I was playing with. So…I suppose I for the most part “improvise”…I play the notes I feel I should, when they should be played….and quite unexplainably I just always know where they are on the instruments I play.

MM: Willows intrigues me as an opening piece. What was it inspired by? It sounds like a ship setting out on an epic voyage.

MB: Interesting. (insert Titanic joke). Willows originally was a piece I started writing for my wife Kandy Harris. She is obsessed with Sondheim. I decided to compose a piece in that vein…with a little me added…and some hints of some Sondheim-esque parts of Mahavishnu ‘s Apocalypse…end result is track 1. I thought it would be a nice set up for the following title track.

MM: FreTnetic is outrageous and ebullient. Was it inspired by the drum & bass loop? How did this composition originally materialize? Are your pieces composed, spur of the moment, or do you conceptualize them over a long period of time?

MB: FreTnetic was a happy accident really. I often practice Chapman Stick to drum loops for chops and to test potential progressions that ultimately a drummer will play. One day I was playing to the loop that wound up on part of this piece on the bass side of the stick….fast…really fast. I loved the velocity of it all…so I just started piecing it all together. Once I have a bass line like that to work off of my work is half done….eventually I added the “hip-hoppish” section at the end to cool things off and create a relative value for the listener…sort of like sending a boxer to the corner between rounds to regroup. I had the help of two talented bassist friends in Martin Keith and Colin Almquist who added their unique sounds for the latter parts of the piece.

MM: This album is especially surreal, dreamlike, and almost unconscious. Is that on purpose? Your last album was done when you were touring traveling a lot. Now that you are home more often and stationary, has that had an effect on your music?

MB: If anything being stationary lately has help my focus. I decided to take a break from touring so I could spend time with my two young girls at home who were seeing very little of me on tour. They were 10 and 11 years old. These are important years and I figure I can resume touring when they are old enough to be a product of my parenting not in spite of it’s absence. I recently made it known that I had suffered a series of grand mal seizures. Flat-lined a few times. Very scary stuff. Had an MRI that revealed an anomalous growth on my brain. It’s not a tumor (insert Kindergarden Cop joke) it’s just extra grey matter with neural networking. Neurologists cannot explain it. It’s in the worst place to attempt a biopsy so it’s just there. Perhaps it was the cause of the seizures? Perhaps it’s why I am who I am? Or, maybe it’s just there. In any case this whole medical gauntlet caused a deep reflective period for me and made me examine myself and mortality. This is what VEIL is. The film score to what I’ve been through since it all started…good and bad. “Veil” is actually an antiquated term once used for a seizures. I thought it would be an appropriate title for the album I recorded through it all.

MM: This album reminds me of King Crimson’s RED a lot. The energy and intensity are familiar. Was that album inspiring to you at any point in your life?

MB: I heard a lot of Crimson growing up but never wrote like or played like them till I was asked to join Stick Men. I was born in 74 so the first Crim I was exposed to at a musically receptive age was the 80’s line up. Fell in love with Ade’s voice and then worked my way back to RED from there simply because that line up was revisiting it. Having played Red and other King Crimson tunes in Stick Men..again, it’s an inescapable influence but not intentional.

MM: Your drumming skills are spectacular on this album. As a drummer myself, I’m impressed. How do you usually record? Do you do the drums first? You have truly mastered the art of making the one man band sound authentic, as if you are all playing together in one room 🙂

MB: Well thank you kind sir. I generally track all my instruments to a click or fake basic drum beat. Then go up to my attic and record live drums over that…remove the fake drums (sometimes keep a cool 808 kick sound or wacky noise)…come back downstairs…listen to the kit…if I did something unusually interesting on the live kit…I go back and converse with that with the music again…rinse and repeat till I’m content.

MM: Captain Kirk reminds me of Alan Holdsworth. Did his music ever influence you? If so, what albums? Also, how did you get that bizarre drum sound on this song???

MB: Yes. Alan has been a great influence on my melodic sensibility with soloing (although I am doing on a Chapman Stick) He  was nice enough to help me get my sound on a few pedals. He’s a very sweet and patient friend. I called this track Captain Kirk as a tip of the hat to Alan’s “Mr Spock” from Tony William’s Lifetime. As far as the “bizarre drum sound”…I tried something that I had tried many years ago before I had decent recording software and microphones and the like. I was living in Olivebridge, NY, and had no rehearsal space in the house I was renting. I did have a very small attic storage space that had 4 foot high ceilings. I crammed by kit into the space, dropped a pair of headphones into the kick as a passive mic, hung another pair of headphones above the kit and plugged into a Fostex cassette 4 track and recorded. Humble. Tinny,…but effective as a means. So I tried that again with this track…but with very expensive headphones in a larger space…trying to get an antiquated studio sound. Sometimes I like less desirable textures and production value. Let the playing and composition do the leg work…if the track remains seaworthy I use it.

MM: Nothing New is a beautiful way to end the album! You and Kandy sound spectacular together, as usual. It’s as if when you sing together, you become a 3rd personality. How did you first meet and when was the first time you sang together?

MB: Quite appropriately we met at a karaoke bar in upstate NY…fell in love…it didn’t take long before I sat down with her and a guitar and started taking turns singing our favorite songs. Soon after it was the logical step to integrate her into my compositions. She has an amazing voice and harmonic intuition that I find myself writing songs around. Inspirational.

MM: My gut feeling is that this album is part 2 of a trilogy. This is your Empire Strikes Back. Thoughts?

MB: Possibly…or the director’s cut of LEVIATHAN. The next album will be differently better…that’s my only goal.

*You can PURCHASE and listen to VEIL at the link below…

http://michaelbernier.bandcamp.com/album/veil

Wihk/Gadd/Henryson “Same Tree Different Fruit plays ABBA” (2011)

Same Tree Different Fruit plays ABBA is a delightful celebration of the music of ABBA performed by a world class trio featuring Anders Wihk, Steve Gadd, & Svante Henryson. There are also two special guest appearances by David Sanborn and Robben Ford. I was fortunate enough to discuss the project with Anders Wihk this week and discover how the whole idea was originally born.

Malcolm Moore: What originally inspired you to re-imagine ABBA songs in improvisational jazz/funk/blues styles?

Anders Wihk: I wanted to record songs that aren’t usually played by jazz musicians. I had a few ideas in mind but one night I saw the Mamma Mia musical in Stockholm and I realized that the 2 or 3 ABBA songs that I thought I knew well ended up being ALL of them. I had no idea how great an impact ABBA’s music must have had on me. Growing up in Sweden playing jazz, ABBA wasn’t really something we listened to, to say the least! ABBA wasn’t on my list of options which surprised me because it was the obvious first choice by far.

I started working on the jazzying up and found that it all came so easy thanks to the quality of the music. I understand now why ABBA is still so popular and timeless.

MM: How did you meet Steve Gadd and Svante Henryson? What led you to choose those two musicians for this project? Also, how did David Sanborn and Robben Ford get involved?

AW: I met Steve the first time when he was in Stockholm playing with Randy Crawford. I wanted to discuss this project with him so we met in the hotel lobby. We ended up talking for a long time about everything else but my project. We connected and aside from being colleagues we have become friends.

Svante and I have worked together in the studio a few times and I am always so impressed with how easily he handles not only the electric bass but upright and his main axe, the cello. Svante is a multi-genius and I am so glad that he was available for the recording and tour.

David and I are cousins and Robben is my childhood friend (I gave him his first shiner). Robbens son-in-law is my wife’s brother, who’s bitch happens to be the dam of David’s mutt.

All kidding aside, I wanted a sax solo on one of the songs and David was my first choice. I called him and he agreed to do it. Later I felt that one of the songs needed a ‘Talk to your daughter’ solo so who to call but Robben himself. He said yes and that’s that. Simple if you know how to use a ‘speaking telegraph’!

MM: On certain songs, I seem to hear a nod to Steve’s work with Richard Tee and Michel Petrucciani. Were either of those artists inspiring or influential to you?

AW: Petrucciani not intentionally, but I am really flattered that you think so. Richard Tee, definitely intentional. I practice every day how to play like him. And Steve has promised me that when I can cut it, we will do ‘Take the A Train’ (Tee style) together.

MM: How much rehearsal and preparation went into the arrangement? There are so many spectacular moments, such as Steve’s Latin solos on Money, Money, Money, the meticulously tight riffs toward the end of Mamma Mia, and Svante’s driving, groove-heavy bass line on The Name of the Game. I am extremely impressed on how all of you really made these songs your own and put each of your own musical stamp on them.

AW: Wow, it sound so impressive when you dress the music in such fancy and perceptive words!

No rehearsal but oodles of preparation.

I spent a lot of time on making good demos. That’s the time consuming part. With the finished demo and written music to go with, it made the recording process go quite smooth. The creative process took place before the recording to save time. We only had one week to record and it would be impossible to come up with so many intricate solutions in such a short time.

I approached this like an arranger would, decide everything by the grindstone and then hire musicians to play it. The only difference is that I was one of the musicians. My main contribution was deciding tempo, form, general type of groove, reharmonizations, important bass lines and the concerted rhythmic figures. I certainly didn’t tell Steve how to play his solos!

The collective creative work was more prevalent when rehearsing for the tour. During that process as well as during the tour itself, we all collaborated to find the best solutions to make the music more powerful live. Steve’s enormous experience was of course important here.

MM: Voulez-Vous is such a joyful performance! It sounds like you were all were having a blast. What kind of emotions did you experience recording this project?

It is exciting, I agree. I am glad that I dared to try such a difficult arrangement. It was a little difficult to learn and I still don’t understand how I could hold my breath for such a long time.

MM: You did several live shows last year. How did that go, did the arrangements grow or change at all? What was the reaction from the audience? Do you plan to do more recordings with this band and will there be more live shows, especially in the USA?

AW: We toured Sweden, Japan and South Korea. People went crazy wherever we played. It was so great! Check out the end of this YouTube clip:

www.youtube.com/watch?v=eUOhuDvHdTI&feature=share&list=PL5VoUqHzm642COa_WYKbjihsQ1SKcoXA4

As I mentioned before the arrangements changed radically during the tour – all benefiting the live experience. One interesting thing is that no matter where we played, the song Dancing Queen always brought down the house when the theme was played. Swedes generally associate ABBA with the song they won the Eurovision song contest with – Waterloo.

There is always a plan to record something new! Our next tour opportunity is in May 2013.

I would love to play in the US of A. If you’re a concert promoter and reading this, call me!

MM: One of the best aspects of the album is that no notes are wasted. The spaces that you leave open are as important as the parts you play. How important was this to you when you initially planned this album out? The music is truly organic, there is lots of room to breathe, and this approach really lets the songs, performers, and the arrangements sing.

AW: Right on! That makes me really happy to hear. Why play unimportant notes? It’s easy to theorize but which notes to play and not to play, that’s the question? I wanted the music to be efficient, no more juice than needed to present the ideas. I also feel that this is the way Steve thinks when he plays. Fewer drum hits but the ones that are there really count and are played with precision. Experience coupled with a ‘Kenny Werner’-ish carefree attitude towards the music is valuable when treasuring the spaces in music that life gently and inevitably carves out. Thank you so much for the great questions, Malcolm.

Same Tree Different Fruit. 

THE GADDABOUTS “Look Out Now!” (2012)

Look Out Now! Is the second release by The Gaddabouts, a spectacular band that consists of Edie Brickell (vocals), Steve Gadd (drums), Pino Palladino (bass), and Andy Fairweather Low (guitar). This week, I had the wonderful opportunity to ask Edie some questions about the band, their new album album, and what’s next.

MALCOLM:

This album is overwhelming! The first album The Gaddabouts (2011) was a masterpiece, but Look Out Now! Really packs a punch with 2 discs full of music(!). Where do all the tunes come from? Did you guys open a vortex, or have you been stockpiling songs over the years?

EDIE:

Thank you for your enthusiasm. We have more songs and ideas every time we get together. The band plays so easily and effortlessly together that the recording process is a breeze and we get so excited that we record song after song after song. Some are impromptu like Meat On Your Bones and Don’t Take All Day and others like House on Fire are songs I have had for years just waiting for the right band to make it smoke!

MALCOLM:

How do you think The Gaddabous have grown since the first album, to the live performance at Zankel Hall, and finally to the new album?

EDIE:

We have created more of a band sound and feel with the playfulness of their vocals throughout and in general, everybody is just a whole lot more comfortable together as we spend more time together. We have a great time and the humor comes through in the music which automatically creates a vibe and energy of comfort and connection.

MALCOLM:

My favorite Gaddabouts song is still House On Fire. I remember being excited to hear it for the first time at the live show in NYC. It’s such a groovy song that demands finger snaps. Can you tell me how that tune was created and evolved to what we now hear on the album? Also, what are the lyrics about?

EDIE:

That song came after I realized that songs with riffs, not just chords, had a bigger personality. So I practiced scales like crazy and started singing to riffs all the time (super fun!). The lyrics are about turning it all over to your spiritual friend when the material world burns you.

MALCOLM:

Wicked William is a darkly beautiful song with a fresh new sound (especially the guitar part) for The Gaddabouts. It almost seems like an outtake from The Beatles White Album. It’s one example of your truly exceptional talents as a storyteller. Is that how you see yourself? So many of these songs tell an ongoing narrative that invoke an image of people gathered in a circle around a campfire to hear some dreamtime, verging on enigmatic, mythical, moral or even spiritual tales. If you had to pick a lyrical theme or motif for this album, what would it be?

EDIE:

I love storytelling and I am glad you picked up on the shift toward that style. I realized recently how much more interested I am in songs when there is a colorful story not just a personal expression of feelings.  I learned to finger pick last summer and found that that style playing has much more to offer than just strumming. And of course, Andy and Pino both play guitar on it and were all over that style and really put some life and color into it.

MALCOLM:

Steve Gadd is world-renown as an iconic drummer unlike anyone else. His drumming is instantly recognizable, but he can also seamlessly blend into any music project. But, what is he like as a producer? How does he bring all of you together as a band and then help guide the music to a finished artistic statement in your opinion?

EDIE:

Steve is so laid back and soooo fun. He relaxes everybody with a ‘let’s play’ mentality while at the same time refining the parts and the grooves to the most musical and simple expression to compliment every song. He shows up every day to the studio with a passion for music like a rookie player, not a world famous veteran. His enthusiasm gets us all excited and happy and gives me personally a privileged feeling that a guy like him wants to make music with me. So special!

MALCOLM:

The extravagant textures on Look Out Now! are enchanting. Songs like River Rise with it’s trance-inducing reggae, Devil’s Story has it’s snake like guiro slither, Younger Woman is a slinky spaghetti western, and Free has a Brazillian jazz swing. It seems that Steve has brought these texture to another level this time around. It’s as if his production is a co-conspirator to your job as head raconteur. Are you ever surprised how the final mix magnifies or even positively redirects what you originally intended?

EDIE:

I am always surprised, excited and amazed how he can transform a straight ahead song with a straight ahead beat and get it to swing and bloom into such a cool expression above and beyond the original idea. It is like seeing an acorn in your hand grow to a beautiful shady oak by a river in the course of a couple hours.

MALCOLM:

Blessed Days is an epic song like one might hear at the ending of a heartfelt drama. It’s akin to a spiritual hymn or even a musical devotional. Can you illuminate upon where that song came from?

EDIE:

Blessed Days is very special to me. I wanted to express the true feeling of my heart and the mystery of the influence and the absence (mentally) of love in my daily activities and thoughts.

MALCOLM:

Your melodies are infectious. These songs stay in my mind for days. How hard do work at creating catchy vocals? Do they materialize effortlessly, or do you let them sit in the dirt for a while, leaving them in the rain and sun to grow for a bit?

EDIE:

Thank you. They just happen. Songs just flow. The work happens before as I learn to play an instrument but the songs just flow as the new skills come to life.

MALCOLM:

Down is one of the earliest Gaddabouts songs. The new version is quite different than the original that appeared on the deluxe issue of Steve Gadd & Friends Live At Voce. It has taken on an even more solemn dirge-like groove than it had before. I envision a lifeboat adrift or even perhaps an elusive figure putting coins on the eyes of the dead as part of burial ritual. Does this song reflect great sadness or do you see it another way?

EDIE:

I just see it as an attempt to express the illusion that somebody else can make you happy and by imagining they will uplift you sets you up for a fall that just takes you down.

MALCOLM:

There are some fantastic guest musicians this time around who gracefully sprinkle some magic dust on each song; Ronnie Cuber (sax, vocals), Larry Goldings (keys, accordian), Pedro Martinez (percussion), Axle Tosca (piano) and Andrea Zonn (violin).Can you expound upon some of their contributions?

EDIE:

Ronnie has amazing first take solos, great tone and giant personality. His vocals are among my favorite, too.  Larry is out of control good with soulful subtle organ and piano and accordion. Tasty!! Pedro grooves so hard and compliments Steve to create that hypnotic and original vibe. Axle played such beautiful fresh parts that keep me humming his melodies. I love his sound and choices.  Andrea’s violin part is so emotional and brings the feel of the song right into your heart. Mike (vibes and marimba) played everything in one take! Masterful solos with heart and soul like walking down the street whistling. All of these players were masters in the studio with fabulous personalities full of humor and heart. It was a dream to hear them do their thing and an honor to be on a record with them.

MALCOLM:

Share a bit about working with Andy and Pino. What are some aspects of their musicality and personalities that you enjoy?

EDIE:

They are both hilarious, sweet, and modest.  They are soooo modest and soooo good it’s amazing they aren’t walking around like puffed roosters or divas but they not. They’re just easy going guys, passionate about music and so caring about getting their parts played with soul in a way that compliments the band without showing off when boy oh boy, they could really show off if they wanted to!

MALCOLM:

What is the future of The Gaddabouts? Will there be more live shows? Would you ever consider doing a tour? How about more recording?

EDIE:

I hope to make a record every year with these guys. If word gets out and the band catches some fans, heck yeah we’ll tour! Can’t wait.

The Gaddabouts Look Out Now! Is available on iTunes and Amazon.com

http://www.thegaddabouts.com/home/

MACHINE “Sixteen Twenty-Eight” (2012)

Innsbruck Records artists MACHINE have just released their debut EP, produced by Yoad Nevo (Moby, Pet Shop Boys, Goldfrapp, Morcheeba). Both members of the band are from Sweden and have worked together frequently before in various projects, including their previous collaborations in the band Julia. Ed Winson (electric guitars, riffs & licks, vocals & keyboards) and Bonefish (vocals, keyboards, loops, bass & guitars) took time out of their busy schedules to discuss their unique creative process with me.

MALCOLM:
Ed and Bonefish, it’s a pleasure to speak with you. Your music is eclectic and unique, but also very pop-friendly. All four songs have consistent lush textures and catchy choruses that seem almost custom-built for communicating with a massive arena crowd. The melodies and guitar riffs are very strong and the vocals are charismatic. Was this your original intention or is this an aspect that your producer Yoad Nevo brought out and helped you magnify?

ED WINSON:Thank you, we’re glad you like it. There’s no strategic creation or intention in this. Bonefish and I have different music preferences, and references, and working together like we do, the mix that it brings, this is what you’ll get.

BONEFISH:
I’d like to think we were very well pre-produced before we started the sessions with Yoad. The songs were there. What Yoad did was to bring out something he discovered already during the demo sessions. He heard something and enforced it, ‘magnified it’ as you said. There’s no doubt in his magic skills. And he worked his magic on us and gave us a much clearer identity.

MALCOLM:
You previously worked together for several years in the band Julia. How does this project differ? Has your approach to song writing, engineering, and performance changed over the years? Why do you think you work together so well?

ED:
‘Julia’ was a band involving seven people. MACHINE is just me and Bonefish, which makes it different in its foundation. And we’ve changed because we’ve grown older, more experienced and maybe even more disciplined. For example, the ideas, or the way you get your ideas, write them down, record them and process them.  That’s an individual process, and just the way you work, so I don’t think it has changed much.

BONEFISH:
If something has changed, it’s the technology. If you think about it, we’re actually a part of a generation who started our music career completely analog. And a lot of things have changed since then. And when everybody else seem to be nostalgic about ‘the vinyl age,’ we embrace working as we do today.

ED:
And when we work, we leave – or try to leave – everything else outside the of room. You know, all your issues, all your history and all of your plans. You need to be present and open if you want ideas to feel welcome.

BONEFISH:
We’ve got some rules as well. Or at least one – that everything is allowed. Every idea needs to breathe. No matter if it’s goofy. That’s how you find the good ones, by picking up every stone. There’s a ‘Yes’ agenda, that we follow throughout the process, in which everything deserves a decent chance, in order not to feel inhibited in the creative process.

MALCOLM:
Who are your musical influences? When I listen to the EP, I am reminded of artists such as Bryan Ferry, David and David, Annie Lennox, INXS and The Blue Nile. How about lyrics? Do you both write the lyrics? Who are your literary influences? Are they constructed gradually or more stream-of-consciousness? There seems to be a few strong motifs that include desperation, escapism, atonement and redemption.

ED:
I think we have quite different influences, which I’m glad you can tell listening to our music. Personally, I’m more inspired by songwriters than ‘artists,’ which means that the field of influences becomes a bit wide. It’s people like Peter Gabriel and Pete Townsend, experimental guys like Tom Waits or ‘pop-melody-makers’ like Lindsey Buckingham.

BONEFISH:
Like Ed says, there’s a difference in our musical backgrounds, and although we’re able to connect in many of the people mentioned by Ed, I’m personally more influenced by electronic music and dance floor artists.  Great names like Faithless, Massive Attack and Moby, but also other acts and DJ’s, like Trentemøller (Denmark) and Apparat (Germany. Guys like these are the ones forcing music to evolve.

Even if we write everything together, it will be me who actually writes or finish the lyrics. It’s just part of the process. But the theme you hear in these four songs are more likely to be a coincidence, although it’s a fascinating one, and something I find interesting to contemplate. And there’s a desperation inside both of us I guess, maybe that’s why we write music, which is all about letting go.  It’s like that Tears For Fears song “…shout, let it all out!.”  Let it out. Life’s too short to do anything else.

MALCOLM:
My favorite song so far is Louder. The funk groove is infectious, with a slight hint of David Sylvian/Japan. How was that song conceived? There seems to be some lyrical Biblical imagery, too. Is there a spiritual aspect to this song?

ED:
This song is definitely one of those songs built on a guitar riff, even though it didn’t quite sound like it does today.  It was very clean in the beginning, but all our stuff usually changes when it passes through the filter of the ‘other.’  This is usually the way all our songs are conceived. There’s always a fragment of some sort, that becomes the spark, the engine.  And if the songwriting engine starts, there’s no telling anymore where ideas come from or how they appear.

BONEFISH:
I heard the sound of a ‘revelation’ in the riff right from the beginning, and I wanted to build something on that feeling. There’s obviously some biblical imagery in it, but I think the essence of the song is the line “I am my own salvation”  which is the essence of me I think. I don’t need anyone telling me what to believe or not to believe. I don’t need a name for it, or a movement, or a book. But even more important, it’s about NOT being silent. Because it’s not the screaming voice of the fanatic that’s frightening, it’s the silence of others. There’s an Albert Einstein quote that states “The world is too dangerous to live in. Not because of the people who do evil, but because of the people who sit and let it happen.”  This is important. We need to speak up. Loud!

MALCOLM:
How was your recent live show at Drom in NYC? How did you flesh out the band, seeing that there are only two members in your band? Did you use loops or add some other players (drums, bass, keys)? What’s the difference between playing to crowds in Europe and the USA?

ED:
The live show went very well. We had a wonderful evening and lovely crowd. Playing live in NYC is never a bad thing. And we have a drummer  for live shows, Bengt Andersson, who’s also the drummer playing on the record. Of course, there’s always a difference in sound and arrangements playing live, but I think we’ve succeeded on all our live shows in to convey the strength and weight of the production. Purely instrumental, live, we are a mix of live drums, loops, keyboards and backtracks.

BONEFISH:
The difference between European and US crowds is more or less minimal. Maybe there’s some differences in frames of reference, artists and songs that may not really cross the Atlantic both ways, but otherwise… I get the feeling USA has a more deeply rooted tradition of live performances. Even if Europe has a similar tradition, it feels easier in USA.

MALCOLM:
How do you record your rhythm tracks? Do you use drum machines, software loops, acoustic drums of a combination of all three?

ED:
It’s a short answer. It’s a combination of all three. In pre-production and in our songwriter, it’s exclusively loops, but when we meet up with Yoad, we always have Bengt with us.

MALCOLM:
Who are your guitar influences? Do you compose your parts by jamming with each other or by yourself? Do you record together at the same time? Or…is it more of a Bowie/Eno approach, by taking turns doing tracks, one at a time, back and forth?

ED:
It’s more about context than any specific guitar player. Again, the range is really huge. Everything from Jimi Hendrix to The Gypsy Kings. I think the key word for me is ‘less is more.’

BONEFISH:
We’re probably more like a modern form of Bowie/Eno, although the comparison is not really spot-on because MACHINE is our joint creation, which wasn’t the case with Bowie/Eno.

There’s a lot of work done separately, which would have been a problem if today’s communication and technology were not what they are.  With just a bit of structure, FTP-servers and Skype calls, we’re actually able to work ‘together’ from any part of the world.  Since we meet on rare occasions, usually with a fully loaded box of ideas, our real life sessions become quite magical when it comes to creativity.

ED:
There’s a point to it as well. I think we’re writing better songs today and I think this could be a main reason for doing so. If you work alone, but with the same project or song, you get more time for reflection. There’s a musical freedom with this process that I like, which gives us time to be more experimental.

MALCOLM:
What’s next for MACHINE? Will there be more live shows and will you record a full-length album?

ED:
The next step is to complete the album with Yoad. That was the original intention, when we first started, and still is. Live shows will be scheduled, but we’re in the middle of a process of pre-producing songs for a full album, so there’s nothing booked for us live at the moment.

BONEFISH:
There’s always a lot of administration that comes with this job. Giving the songwriting the proper time it needs and finding time to work together in London is the most essential point. Finding suitable partners publishing and distribution is another.  These things take time but we’re getting closer every day.

MALCOLM:
Finally, why is the band called MACHINE? Why do they call you Bonefish? Is it an anagram related to Tom Wait’s brilliant 1992 album Bone Machine?

ED:
I think we searched for a name that could be something, like a “box” or a special room of some sort – something you could grab.  Our work together is that thing. It’s our ‘machine room,’ where anything is possible and everything is allowed. We feel this gives the band a more distinct identity, almost like the band is the artist, not us.

BONEFISH:
There’s no Tom Waits reference in this, even if Waits is a great artist and wonderful inspiration. ‘Bonefish’ is originally something of an invention of mine, an alter ego, a symbol of creative freedom if you like. It’s nothing I have the intention to hide behind, or something with a purpose to keep my real identity ‘safe.’   It’s rather the opposite. When I’m ‘Bonefish,’  I’m not held back by “what to do” or “how to sound”  and therefore I can use it in my quest to find the real me – which I know is hiding in here somewhere.

PURCHASE MACHINE Sixteen Twenty-Eight on iTunes:

http://itunes.apple.com/us/album/sixteen-twenty-eight-ep/id525527031

 

MARCO MACHERA “One Time, Somewhere” (2012)

MARCO MACHERA "One Time, Somewhere" (2012)

Innsbruck Records artist, Marco Machera, has spontaneously generated a paragon of sonic treasures with his new album, One Time, Somewhere. The enigmatic Italian singer/songwriter is also a muti-instrumentalist who effortlessly evokes cinematic visions upon each listen to his music.  It is a truly brave, unique, and vibrant collection of songs that reveal multiple marvels as it unfolds its wormhole of wonders into each pair of humanoid eardrums. I recently had a chance to discuss with Machera, what exactly went into conjuring up such a boiling cauldron of creativity!

MALCOLM MOORE:

Who is Marco Lafirenza? How did you meet and is there a story behind his wonderful artwork for your album?

MARCO MACHERA:

I got to know Marco Lafirenza a few years ago, through MySpace. We haven’t met in person yet – he lives in southern Italy, a bit far from me. We’re planning on meeting each other soon, though. He’s a wonderful artist and did a great job for my album. I had collaborated with him before, on a project that never came out. We’ve stayed in touch since then. As soon as I started working on “One Time, Somewhere”, I had Marco in mind for the artwork. His style is very recognizable, distinctive. It actually reminds me of an old, wooden shelf filled with ancient books; I don’t know why. There’s an obvious sense of tradition in what he draws, but it is modern too. Before starting to draw anything, he proposed some adjectives and asked me to choose the ones I felt were appropriate for the artwork. I chose “dreamlike” and “human”. “Human” wasn’t on the list, my girlfriend suggested it, and I immediately felt that was a spot-on adjective to describe the album. That’s how things started. Marco brilliantly brought to life all the different characters and imaginaries described in the songs.

MALCOLM MOORE:

I notice a significant Japan influence on your music. Especially on Stories Left Untold. Was Mick Karn an inspiration to you as a bass player?

MARCO MACHERA:

Mick Karn was definitely a huge inspiration for me. The bass riff on “Stories Left Untold” is my humble tribute to Mick. The way he played bass was groundbreaking. I love what he did with Japan – “Tin Drum” is one of most fascinating albums ever, though my personal favorite from Mick would be “The Waking Hour” by Dali’s Car.

MALCOLM MOORE:

Are you a full-time musician, or do you also have another day job?

MARCO MACHERA:

I do my best to be a full time musician. Not the easiest of things. I do session work from time to time, though I feel more of a composer, a songwriter. I like the creative process very much, I really enjoy to sit down and write songs. When I’m not making music, I work as an interpreter and translator. I did the interpreter for several musical workshops here in Italy. This way I also got to meet Paul Gilbert. He needed an interpreter and a bass player – I can do both! So I ended up playing bass for him a few times (and translate in between songs). Sometimes things come full circle. However, I’m also trying to pursue a career in literary translation. At this point, future is an open road. If I could choose, I would be a musician all of my life.

MALCOLM MOORE:

Days of Summer Time is a beautiful song. It reminds me of The Beatles, Adrian Belew, and The Bears. Did any of those artists have an effect on your song writing?

MARCO MACHERA:

I guess all of them have an effect on my songwriting. I would add XTC to the list. They were my main point of reference when writing “Days of Summertime”. I wanted to combine a Beatles-esque harmony with a late Tom Waits production/rhythmic vibe. It’s one of my favorite songs off the album.

MALCOLM MOORE:

How did you meet and get involved musically with Pat Matelotto and Rob Fetters? Very impressive!

MARCO MACHERA:

That wasn’t difficult at all. You know, Internet can be a very useful tool. I’ve always been a big fan of Pat Mastelotto – I particularly admire his drumming on “Oranges and Lemons” by XTC, a very important record for me. Back in 2009 I sent him a message on MySpace, asking if he was interested in listening to my music and maybe play some drums for me. He soon replied, very enthusiastic about the idea. I couldn’t believe it. I soon learned that Pat is a special human being. He has a big heart. We met a few times when he recently toured Italy with Stick Men, and we got closer. Internet was crucial with Rob Fetters as well. I wasn’t satisfied with my vocals on “Days of Summertime” and I thought immediately about Rob. I sent him an email with the song and asked if he wanted to help me out. He liked what he heard and said he was up for it. Rob is truly one of the nicest person ever. Just like Pat, he’s been overwhelmingly generous to me and very supportive. Of course, I’m proud of having him on the album. Such a talented and underrated artist.

MALCOLM MOORE:

Your album reminds me of the first Peter Gabriel album because it is so diverse with styles. With so many styles, what theme do you think ties it all together? Do the lyrics tell a story?

MARCO MACHERA:

I too see a similarity with Peter Gabriel, in the sense that I wanted to do something completely different from what I had done prior to “One Time, Somewhere”. I think Peter Gabriel experienced the same when departing Genesis. However, the diversity of styles on my album was not intentional. It just came out that way, probably because I started working on it long ago and then went through different moods and influences throughout the years. Each song tells a different story. As a matter of fact, I wanted to call the album “Short Stories”, but there are too many records with that name already. I’d say the main theme is the city, the metropolitan atmosphere. I wanted the city to be the backdrop for all the songs. On a less conceptual note, I think the continuous playing helps. My friend and collaborator Francesco Zampi suggested the idea of each song flowing into the next one, a` la “Sgt Pepper”.

MALCOLM MOORE:

One of my favorite songs on your album is Bright Lights, Big City. It has a really cool alternative feel. What were the lyrics inspired by? Was it the famous 1984 book by Jay McInerney?

MARCO MACHERA:

Yes, I’m a fan of Jay McInerney. “Bright Lights, Big City” was an inspiring novel for me. Again, the city is the backdrop for the song. It’s not really “about” the book, it’s rather “inspired” from it. My song it’s more centered on the main character rather than on the whole novel. Musically speaking, I wanted the tune to be raw sounding, as punk as possible. Don’t know if I succeeded, but I’m happy with the result. It evolved in a different way than I initially planned.

MALCOLM MOORE:

El Muerto is brilliant. What is the story behind that song and how did you get the cool Horse sounds?

MARCO MACHERA:

I’m an avid reader of comic books. “El Muerto” is one of the characters of a famous Italian comic series called Tex – though my lyrics has nothing to do with it. I just borrowed the name. I don’t remember how it all started exactly. I had thought about this surreal story of an old man walking around town dressed as a cowboy. I guess the cowboy costume suggested the “spaghetti western” arrangement for the song. I wanted it to be humorous and tragic at the same time. As far as the horse sound is concerned, I wish I could tell you I had recorded it live while riding a real horse. The mere truth is: Francesco Zampi sourced it from a sound library.

MALCOLM MOORE:

The first song of yours I ever heard was Down Below. It’s beautifully moving and transcendent. It recalls early Genesis, but is something unique all of your own. It has a dream-like quality. What is it about?

MARCO MACHERA:

Thanks. Yes, I definitely wanted to add a dream-like quality to the piece. As I often do, I tried to put an image, a scene I had in mind into music. It’s like scoring a soundtrack to an imaginary movie. I pictured a crumbling house, and a guy with his ear on the floor late at night. He lived on the ground floor. What goes on down below? We actually don’t know what happens to the guy at the end. The main theme here was temptation, and voyeurism too. I see it like a metaphor – someone who’s going to fall into temptation. Then I thought: what if there’s another world underneath, identical to the one we’re living in? Maybe there was another guy with his ear on the floor, upside down. Maybe “hell” is right where we live. I must say, I need to thank Francesco Zampi for bringing the whole concept to life. He added a wonderful string arrangement, which made a significant difference at the end. He really elevated the song to a whole new level.

MALCOLM MOORE:

Your collaborations with Francesco Zampi are spectacular, especially on Gotzendammerung. How did you meet? Do you guys work like Bowie and Eno, by passing tracks back and forth, or do you work together at the same time?

MARCO MACHERA:

We certainly have a Bowie/Eno kind of relationship going on. Francesco has been a key element for the record. He’s a good friend and one of the best musicians I’ve ever worked with. We met through his girlfriend – I was doing gigs with an acoustic trio and she was the lead vocalist. Francesco worked as a sound engineer for us at the time. I think they liked the way I played bass, and asked me if I was interested in joining the backing band for a gospel choir they were collaborating with. I accepted, and got to play a lot with Francesco. He’s a great pianist himself, and plays other instruments too. Wonderful arranger, he’s really an all-around artist. Very good at mixing and mastering as well. For this album, we mostly exchanged tracks back and forth. I usually had the whole piece written, and then I would hand the parts to him to put final touches and go through some treatments. The process greatly helped me stay focused on the music and to have some much appreciated external counseling.

MALCOLM MOORE:

Your beautiful song Hire Her evokes minimalist music of Daniel Lanois, Brian Eno, and Harold Budd. What imagery is in your mind when you listen to this song?

MARCO MACHERA:

“Hire Her” was born as the soundtrack for a live performance scripted and performed by Martina Sacchetti, who’s my girlfriend. She’s a brilliant actress and performer. So I strongly connect the piece to that particular performance, which was called “Hire Her”. I decided to keep that title. The original version was 10 minutes long – I edited it for the album, making it shorter and shorter as the years passed by. It evolved into a whole different piece than it was at the beginning. I might put out the long unedited version sometime soon, along with the video of the original performance scripted by Martina.

MALCOLM MOORE:

Troubled Childhood is an unexpectedly emotional song. Even more surprising, is the piano performance by world renown painter Mark Kostabi. How did he end up on your album?

MARCO MACHERA:

I met Mark Kostabi for the first time in 2007. I was in Piacenza to open a show for my friend Jerry Marotta. Mark was in the audience. The fun thing is – I wasn’t familiar with him and his painting activity. I didn’t know he was a world renown painter. I had seen YouTube videos of him playing the piano at a TV show (the Kostabi show) with Jerry on drums. So I thought he was a pianist. I approached him saying “You play piano very well!” and didn’t say anything about his art. I later discovered he was… well, Mark Kostabi. Anyway, we kept in touch. He has an apartment in Rome and last year I asked him if he wanted to play some music with me. He said yes and invited me over to jam. He used to record our rehearsals. He usually handed me the recordings for later editing work. So, while editing the jams, I thought some parts could work good for my album. I asked him if it was okay to “steal” some of his piano playing and he allowed me to do so. I put together his parts for “Troubled Childhood” that way, then I went to his apartment one morning to record something for “El Muerto”. He played on the whole song, but I just kept little excerpts from the original recording.

MALCOLM MOORE:

Hello is a great opening song. Is it a long distance call from Italy to people around the world to hear your music? Or is it an interstellar communication device? Or is it a prank call?

MARCO MACHERA:

I like the idea of a long distance call from Italy to people around the world. In a way, yes, I wanted to open the album with my voice up-front, as if to say “This is Marco Machera, welcome to my world”. However, the song is very intimate and sincere. I was going through a difficult time and that’s why the lyrics are so simple. They actually poured out of my heart and I felt there was no need to make things complicated.

MALCOLM MOORE:

How/when can I get a physical copy of your CD?

MARCO MACHERA:

Soon, I hope! I’m thinking about making some physical copies available. I will produce a “limited edition” set on my own.

For more information on Marco Machera and One Time, Somewhere, check out …

http://www.innsbruckrecords.com/theartists/marcomachera

http://www.facebook.com/pages/Marco-Machera/65225116390

Download One Time, Somewhere on iTunes…

http://itunes.apple.com/us/album/one-time-somewhere-feat.-marco/id497671095

MICHAEL BERNIER “Leviathan” (2011)

Multi-instrumentalist/singer/songwriter Michael Bernier has created his own masterpiece; a solo album titled Leviathan. It could almost be called Journey into the Mind of Michael Bernier. This is not just a collection of songs. This guy is a sonic visionary. In this adventurous, ambitious, and eclectic new album, Bernier takes the listener on a thrilling ride through the galaxy.  The atmosphere is dreamlike, surreal, and spontaneous.

Practically the whole album is just Bernier, as a one-man band, sculpting the frequencies with his Chapman stick, bass, guitar, violin, acoustic and electric drums, keyboard, and voice. He also flexes his George Martin producer muscle, using the studio itself as a creative force. There are some spectacular guest appearances by Pat Mastelloto – drums (King Crimson, Mister Mister, XTC), Kandy Harris – vocals, Caryn Fitzgibbon –violin, and Mike Schirmer -Piano & Bass Clarinet. However, it’s Michael that truly shines the most here, wearing myriad hats, and performing his magnum opus with bravado and absolute unwavering fortitude. His own hypnagogic and iconic artwork adorns the CD layout as well.

As if a cosmic radio is picking up signals from an alternate universe, the album sequence drifts from one blissful extreme to another. Bernier spits out time signatures, melodies, and textures like Godzilla breathing fire on Mothra.  In fact, the opening, title track, Leviathan, has the sonic persona of tentacles emerging from an exploding freight train. The interplay on this song between Bernier and Mastelloto is infectiously seismic.  On Sunrise, the weary creature heals in a pool of solitude, as it floats downstream. This contemplative and wondrous intermission prepares the listener for the relentless rapids that lie ahead. Who knew that there was a Parasite lurking beneath? This song somehow stiches a Frankenstein monster out of Mahavishnu Orchestra, Chick Corea, and Eddie Jobson. On Burbur, Bernier does his best 1970’s Bill Bruford/Jeff Berlin impression, as the bittersweet and venomous violin slices scars into the sky. After all this dense and mystifying instrumental music, Michael introduces his soulful and crooning vocal capabilities on The Old Ways. As soon as he has you with his smooth and languid tonal jars of nectar, he flips the switch into a heavy Deftones-like groove, appropriately dressed in distorted shrieks and crunchy bass pyrotechnics. One must fight all temptation to thrash their heads in the office cubicle whilst trapped between earbuds and the digital domain. Lumberslush is a welcome and refreshing dip into a pseudo-classical vortex. With a lilting and sparkling drum grove to propel itself, this track features soaring guitar and dissonant arpeggiated piano. Circus Elephant wanders into the room, and with math rock skills abound, methodically transforms the architecture with metallic mayhem. Bernier executes this complex carnage with graceful fluidity. As the song ends, the solemn clarinet leads our ears onto the next stop of our journey. It’s Morning, continuing the magical motif of days rapid-cycling into nights. On this track there is an inner knot, tying together seamless guitar, violin, and stick in an elusive and compelling fashion. One cannot help but be reminded of vintage mid-seventies King Crimson here.  As My Sorrow takes form, we are hypnotized by a slick funk groove and cymbal swells. Again, Bernier sings here, but he is joined by his operatic partner in crime; Kandy Harris. Their harmonies are deliciously irregular. Like sultry Sonheim sirens, they successfully sing a difficult melody together with magnificent radiance. It’s a divinely discordant duet from an alternate reality. G.D.D. exquisitely ends the epic odyssey known as Leviathan. Bursts of colour and audio residue explode from the inside, as Bernier flails and transmigrates across oceans of wonder until he vaporizes in the far distance.

It’s no surprise that Michael Bernier has released an album of this quality and magnitude. He has toured the world and recorded with the likes of such brilliant luminaries as Tony Levin, Sonny Rollins, and Jack DeJohnette. What is bewildering, however, is the artistic merit of Leviathan as a whole. It’s a spectacularly unique work of art in conception, presentation, and performance. Do yourself a favor and check this music out today at http://michaelbernier.bandcamp.com/album/leviathan

EDIE BRICKELL “Edie Brickell” (2011)

Edie Brickell (2011)

Edie Brickell released two phenomenal albums in January 2011; the eponymous Edie Brickell, and The Gaddabouts. They are arguably her best musical efforts ever.

Edie Brickell is her third solo record. With lush, subtle and inventive production by singer/songwriter Charlie Sexton, this diverse collection of songs captures the listener’s imagination with its colorful storytelling and infectiously hummable tunes. As usual, Edie is supported by a tremendously gifted cast of musicians that include; Sexton, Carter Albrect, Dave Monsey, Jim Oblon, JJ Johnson, and David Boyle.

Although it could be said that this album exemplifies the personality of a shape-shifter, it is naturally stitched together like a beautiful quilt by the continuous familiarity and intimacy of Edie’s soulfully fluid vocals.

Give It Another Try is a psychedelic jaunt with a carefree swing vibe. Her lyrics are conversational and free-flowing, so much to a point, that as you sing along, you realize that it’s not exactly a happy tale that she’s sharing. Like Morrissey, she cloaks the dark side of her thoughts and words in a gorgeously joyful tapestry of sonic textures.

Pill is a peculiar and amusing song that combines all the best of Edie’s abilities; sarcasm, humor, satire, and a contagious melody. Her social commentary is hilarious;

“Say you can’t pay attention
It’s getting pretty rough
You feel a little down now
You can’t get it up…they got a pill for that”

The video is spectacular, too, with a Terry Gilliam-esque cut-out technique, based on Edie’s own illustrative, hand-drawn caricatures.

Always is a haunting song with a vintage, toe-tapping Vaudeville groove. Once again, the melody is happy-go-lucky, but Edie is singing about survival amidst the shadows of demons lurking in the dark. Lyrically, the subject matter is reminiscent of Peter Gabriel’s obscure B-Side, Walk Through the Fire. No matter what obstacles life presents you, keep moving forward and don’t look down.

The production is simply exquisite on track five; 2 O’Clock In Ihe Morning. It’s surreal, dreamy, and elusive. Edie’s thoughts float into the atmosphere seamlessly, with ominous piano glissandos and backwards guitar, trapped in a web of sparse cymbal nuances and a spooky 909 drumbox loop. Sexton is brilliant here at the console, and somehow captures that lucid state of mind between dreaming and waking up.

It Takes Love is such a tenderly heartfelt song that one can easily imagine it being an effective spiritual hymn. It sounds like it was recorded in a cathedral and Edie’s voice is purely angelic. People of all ages would benefit from taking the time to listen to this. It’s full of life lessons, personal sacrifices that one invests in friendship, and the painful responsibility of forgiveness.

Bad Way closes out the album and is a complex masterpiece. Perhaps it could only described as progressive country or atomic Americana. At first, when each section is introduced, the listener thinks someone is switching the radio station. But soon, as the song progresses, the puzzle pieces reveal how they intricately fit together into a wide screen expanse and ultimately, a masterful grand finale for the album.

Edie Brickell succeeds by way of luminous production, ingenious arrangements, songwriting craftsmanship, top-notch musicians, and a voice that draws the listener close in a compassionate embrace. This is just a glimpse of a completely extraordinary offering. Listen to it loud in the car or alone with headphones on. It’s an inward auditory expedition.

MAROTTA GRIESGRABER “Waking the Day” (2005)

MAROTTA GRIESGRABER "Waking the Day" (2005)

MAROTTA GRIESGRABER Waking The Day is positive escapism from a lethargic world. This is one of those albums that you put on when you’re driving and it lifts your soul to a higher level. There are labyrinthine melodies, catchy hooks, and multifarious surprises at every turn. These are 10 diverse tracks that span the gamut of the far reaches in instrumental music.

MAROTTA GRIESGRABER is Jerry Marotta (Peter Gabriel, Paul McCartney, Indigo Girls) on drums and percussion and Tom Griesgraber on Chapman Stick. They are a truly cohesive unit, a well-oiled machine, and they are  ready to rock! There are some unexpected moments as well. Tony Levin (Peter Gabriel, John Lennon, King Crimson) plays big-bottom bass on two tracks,  Harvey Jones (Chris Botti) sprinkles magic synth dust all over the album, and Jerry Marotta’s multi-layered vocals on Tom Gets Lucky in Constantinople is a sonic treat to behold.

This is soundtrack music from outside space and time. It’s not incidental- it’s monumental. There are innumerable meter changes that never stumble. They are flawless, smooth, and exist below the surface, not suffering from math rock, but succeeding due to joyous melodies and spectacular composition. Every time you think you have these guys figured out, they pull out a new sparkling set of steak knives and put them on display.

77 Times fills your heart with happiness. Lowered Skies carries a sense of foreboding nature and tension whilst revealing unknown realities. Tom Gets Lucky in Constantinople is a trip on a magic carpet through vast lands and tumultuous topography. Ifs Jam is time suspended in the clouds of Jupiter before smashing into the moons for some funky ping pong. Bad Day At Coney Island is a journey to the center of the Earth. Sorrow Smiles is a tribal banquet and a cornucopia of correlations between wordless worlds. Third Estate is a sidewinder, slithering sideways amongst the weeds, with a labyrinth of mosaic tiles adorning his elastic backside. School Clothes Shopping Is a liquefied state of consciousness that exists in the temporal lobe, and perhaps, other areas where one is open to conjecture.

Waking The Day is a distant cousin of 77 Times, but from a parallel universe where the concrete jungle is obliterated by Komodo snake dragons and manifest density, with trap doors and swinging bookcases. Leaving Bread Alone leaves us wanting more but settling for closure, hinting at future prospects, and yet throwing us a bone from the unknown passing space cruiser known as MAROTTA GRIESGRABER.

GENESIS “The Lamb Lies Down On Broadway” (1974)

 

GENESIS "The Lamb Lies Down On Broadway" (1974)

 

English rock star Peter Gabriel has achieved many impressive levels of lyrical growth and depth of musical maturity on his own since his 1974 masterpiece with Genesis, The Lamb Lies Down On Broadway. But the breadth and spirit of this work have left an indelible mark not only on his personal creative path, but on many others as well. The Lamb Lies Down On Broadway is one of those milestone masterworks that so many of us revisit time and time again, gaining new insight and revelation upon each listening. The story that Gabriel presents can be approached from a complex labyrinth alchemistic entrances. Exploring how the words and music are integrated in this monumental epic tale is the key to understanding with complete appreciation.

First of all, one cannot dismiss the fact that this album is not solely Gabriel’s vision; all members of Genesis were integral composers and arrangers of the rich musical tapestry. With a few exceptions, Tony Banks (keyboards), Mike Rutherford (bass, twelve string guitar, and bass pedals), Steve Hackett (guitar), and Phil Collins (drums, vocals, and percussion) came up with the bulk of music while Peter wrote the story, sang lead vocals and played flute. *Banks and Rutherford wrote the lyrics to The Light Dies Down-not Gabriel. (Finegan & McMahan, 1994)

Lyrically, The Lamb Lies Down On Broadway draws from a plethora of sources. Steeped in mythology, history, poetry, religion, and current events (from 1974), Gabriel soaked up his surroundings as a visitor to N.Y.C. during three American tours with the band in the early seventies. He was also partly inspired by a surreal 1970 film titled, El Topo. Reflecting back recently, Gabriel remarked that he spent some time working with the director, Alejandro Jodorowski. “It was like a spiritual Western, very rough and violent. It made a huge impact on me. We devised a script together.” (Darke, 1998) At one point Gabriel considered having Jodorowski direct The Lamb Lies Down On Broadway into a movie, but it was never realized. He also has mentioned that The Pilgrim’s Progress by John Bunyan was an inspiration as well. (Finegan & McMahan, 1994)

The Lamb Lies Down On Broadway is the story of Rael, a young Puerto Rican street punk/gang member living in New York City during the early 70’s. He undergoes a spiritual, emotional, mental, and physical transformation. Without a doubt, Rael suffers from dementia praecox or multiple personality disorder. Something cracks inside his mind and a combination of the aforementioned diagnosis ensues, sending him spiraling on a journey outside of space and time. Gabriel says that the story takes place underneath New York City, obviously deep within Rael’s subconscious. His sense of reality (Rael is an anagram for real) is obliterated and he shifts gears into survival mode. What we have to work with are song lyrics and liner notes on the inside sleeve. Here, Gabriel gives an acerbic overview of the story as told by Rael.

An example of this monologue reveals Rael’s true duality;

“While I write I like to glance at the butterflies in glass that are all around the walls. The people in memory are pinned to events I can’t recall too well, but I’m putting one down to watch him break up, decompose and feed another sort of life. The one in question is all fully biodegradable material and categorized as ‘Rael’. Rael hates me, I like Rael, – yes, even ostriches have feelings, but our relationship is something both of us are learning to live with. Rael likes a good time, I like a good rhyme, but you won’t see me directly anymore – he hates my being around. So if his story doesn’t stand, I might lend a hand, you understand? (ie. the rhyme is planned, dummies).” (Gabriel, 1974)

We see here that Rael is clearly split into two distinct personalities; quite comfortable with it in a satirical, whimsical fashion. It is evident by the use of fanciful wordplay and humor. Being comfortable with his mental condition is however another sure sign that he is truly deranged.

The story can be broken down into seven basic sections:

The first three songs are the setting.

The Lamb Lies Down on Broadway–
Rael appears in New York City and announces his arrival by spray painting his name.

Fly on a Windshield–
Next he notices a dark cloud descending over the city, getting closer. It eventually envelops and paralyzes him. When the dust fallout solidifies on his body, it sends him into a comatose state. Remarks have been made over the years as to whether Rael partakes in chemical supplements or suffers death at this point, but the question is irrelevant. The point here in the story is that the journey begins. The musical explosion perfectly paints the picture of the prevailing impact.

Broadway Melody of 1974–
Rael acknowledges world events and various sound bites on noteworthy personalities of the early seventies. He is doing a reality check on his consciousness, but the more he tries to focus, the more his thoughts start to become abstract and he leaves this world, entering the next. He sees once familiar objects taking on new connotations:

“Echoes of the Broadway Everglades,
with her mythical Madonnas still walking in their shades.”

New York City is transformed into a living organism. Rael speaks in continuous double entendre as his mind begins to splinter: “Sirens on the rooftops wailing, but there’s no ship sailing.” He perceives a warning sign but has no way to escape. A police siren is translated into a Greek mythological sea nymph, warning Rael of his impending doom.

Rael is hurled into a mystical tourbillion.

Cukoo Coccoon–
Rael wakes up in the dark. He is in a cocoon-like sac, unable to move. In this dream-like state, he contemplates if he has, in fact, experienced death itself.

In The Cage–
Rael becomes comfortable in his warm cocoon and falls asleep. When he wakes up, he realizes that has been set free. He then starts to feel ill and notices a cage growing around him made of stalactites and stalagmites. He becomes hysterical. He looks outside the cage and sees his brother John (his other personality) in another cage. He cries for help, but John fearfully ignores him. This highly upsets Rael. When John leaves, the cage opens. But, it is too late. Rael’s frustration causes him to start spinning madly in circles as he is caught up in a mental whirlwind and then blacks out.

The Grand Parade of Lifeless Packaging–
Rael wakes up and is in a factory of personalities. He recognizes some of them to be specific people in his life. A sales woman helps him select personalities. This is where, as a survival instinct, he truly shatters into many psychological shards of himself. Rael tries his best to rationalize with severe dementia.

A flashback in time, providing Rael’s backstory.

Back In N.Y.C.-
Rael was released from a juvenile detention center at age 17. We learn that his aggression stems from violence and gang life that he participated in after his release. It is alluded to here as to why he was incarcerated:

”No time for romantic escape when your fluffy heart is ready for rape. No!”

Hairless Heart–
Rael explains his loss of innocence by describing a symbolic heart that had its protective hair shaved off, exposing his soul.

Counting Out Time–
Rael remembers his first sexual encounter. In doing so, he reveals a methodically cold view of certain events in his life, as if all emotion had been numbed in The Hairless Heart. It is humorous but at the same time dehumanizing.

Rael returns from nostalgia back to the present time in this section, reaching an impasse.

Carpet Crawlers–
Rael, amidst many people crawling around in the dark, is looking for a way out. These are quite possibly all his personality fragments. The strongest one has a profound realization, stands up and boldly walks out of the room.

The Chamber of 32 Doors–
After climbing a spiral staircase, Rael finds himself in a circular corridor; there are 32 doors. Cacaphonous arguments regarding which door to choose, makes him indecisive, because he doesn’t trust anyone.

Rael encounters dark creatures and foreboding events.

Lilywhite Lilith–
Rael encounters a ominous blind woman who offers to help him find the way out. He goes with her, but is suspicious that she has no trouble seeing where she is going, despite being blind and in the dark with him. She goes ahead and tells him to wait for her. A lilith is a female demon that takes advantage of and captures the lost and desperate-usually newborn or children(!). (Hefner, 1997) Rael is in an unfamiliar place and feeling helpless, like a child.

The Waiting Room–
Rael cannot see due to a blinding light at the end of the room he is in. He throws a rock at the light. The light goes out and two glowing orbs (mentioned entering at the end of the previous song) leave the room. As he regains his composure, he is captured from above.

Anyway–
Rael now broods over his imminent death, with feelings of guilt and failure. But then hears a voice, reassuring him that the mysterious Lilith is returning for him;

”Good morning Rael. So sorry you had to wait. It won’t be long, yeh! She’s very rarely late.”

Here Comes The Supernatural Anaesthetist–
Lilith finally returns to Rael, accompanied by Death, himself; “He’s such a fine dancer.”

The Lamia–
Rael escapes his trap into a room lit brightly by a chandelier and he enters a pool. He is helplessly surrounded by three lamia (serpent women feast on human blood) that seduce him. *Well-read Gabriel was very likely inspired by the writings of Keats and Faust about lamias. The lamias try to devour Rael in a pseudo-sexual proceeding, but mysteriously die from ingesting his blood. He tries unsuccessfully to resuscitate them. He communicates to them that they died for a good cause;

“O Lamia, your flesh that remains I will take as my food.”

The Lamia unsuccessfully attempted to steal Rael’s power. He brings their bodies with him as he moves on.

Silent Sorrow In Empty Boats–
Rael finds a boat and escapes. The music is beautiful and contemplative here; the calm before the storm.

The Colony of Slipperman–

• The Arrival
Rael starts off quoting a line from William Woordsworth;

”I wandered lonely as a cloud”, and then adds, “until I came upon this dirty street.”

He comes upon an assemblage of revolting creatures known as the Slippermen. They laugh and point at him because they have been through the same exact process. Is it Sheol, purgatory, or some other sort of hellish limbo? They show him his reflection in an attempt to convince him that he, too, is now a Slipperman! Rael spots his brother in the same dilapidated state. They realize that in order to survive the damage that the lamia has done to them, they must visit Doktor Dyper. He will castrate their senses and disconnect their fragile emotions.

• A Visit to the Doctor
Rael and John visit the doctor and have their genitals removed.

• The Raven
As soon as the procedure is completed; a giant raven appears in the sky, descends upon Rael and snatches his genitals. He flies away and drops them into a river.
Rael pleads with John for help, but John refuses, warning Rael to stay away from the raven and where he’s headed.

Spiritual Death.

Ravine–
Rael searches in the river for his missing appendage. He spots something strange in the distance.

The Light Dies Down on Broadway–
Rael sees a skylight portal leading back to his home life on Broadway. As he is about to leave, he sees John drowning in the river, pleading for his life. Rael must decide between saving his brother and taking his only chance of escape back to safety.

Riding The Scree–
Rael carefully scrambles down the side of the slope, jumping in the water to save him, as John is losing strength.

In The Rapids–
Rael struggles in the rapids to save John’s life, knocking him out to save time. After he is brought ashore, Rael realizes that John’s face is his own. He inadvertently saves himself.

Reflection.

It–
Through this dark night of the soul, Rael survives his own mental breakdown. By exploring the maze of his mind, he has conquered his own demons. This whole experience is a blessing in disguise. Rael’s travails bring him strength in the end. The Lamb Lies Down On Broadway can be seen as his triumphant passage through adolescence. He had been through reform school, born again into freedom, and was in essence, a sacrificial lamb unto himself. He sacrificed his ego for true compassion. Rael’s soul had reaches a state of renewal and perfection. (St. John of the Cross, 1959 Revised Edition) Rael and John become one again, finding balance. They become one with the universe. They become it.

”It is Real. It is Rael.”

The Lamb Lies Down On Broadway is both Apollonian and Dionysian by Friedrich Neitzche’s terminology. As Rael struggles for reality, his Apollonian side strives to analyze what is happening to him. But as he comes in contact with each obstacle in his path, his Dionysian or emotional side kicks in, setting him back a few paces each time. Neitzche wrote of this sort of balance that is sought in life. (Janaro/Altshuler, 2006) Perhaps that is the crux of The Lamb Lies Down On Broadway; After rehabilitation, Rael searches to find his place in society. He is making amends for his former violent self and putting things into moral perspective.

Over the years there has been speculation, actual attempts, and effort made to reunite the original five members of Genesis in order to commit The Lamb Lies Down On Broadway to cinematic, theatrical, or live stage performance. When compiling tracks for the 1998 Genesis boxed set Genesis Archive:1967-75, the band assembled to do some touch-up recording and even complete recording of the final song It and a new version of The Carpet Crawlers. Gabriel and Genesis have both commented on the possibility of doing a Lamb tour someday, but only time will tell. Gabriel says that several people have approached him over the years expressing the desire to make this fantastic tale into a movie. (Darke, 1998) Certainly, someone like Dave McKean, Tim Burton, David Lynch, or Terry Gilliam could handle the monumental task with great finesse and appropriate depth. Whether or not it ever happens, until then we have the music and our imaginations as a conduit into the world of Rael.