Your most recent CD, Counterpoint, has more instrumentation and effects on it than previous CDs. I was particularly taken by the effects on "Then" which enhanced greatly the experience of an old recording. I'm wondering if you are going to consciously move more in the direction of effects and added instrumentation with future CDs?
Funny, you are the first person to mention 'Then' and its production. It was quite a process, and I am left thinking not an entirely successful one. The vocal and banjo were recorded to vinyl. That got all scratched up and recorded. Then we added fuzzed out bass, a bunch of analog synth sounds, brass, everything that was around. Probably too much. Not sure it was a good idea. But it does show a tendency I am leaning towards. There is a certain old/new sound that I find very appealing. A few artists recently have tapped into it with really great success. I am thinking of say Manu Chau and less popularly, Neutral Milk Hotel. There is something that sounds almost antique in their production aesthetic, but the sound is unmistakably new. There is something very exciting about it and something honest about the way it has caught on. Moby is
another example. That really popular album of his. I actually think it was a genius idea.
Anyway, for me I don't know what use this is. Just because I like the idea doesn't necessarily mean I should try and manifest it. But if somehow one of my recordings, or even the bulk of an album, could somehow be a treatment of Eastern European or Russian melodies and rhythms as Manu Chau is to Latin stuff . . . I don't know. I think it would be fun.
In the past I have shied away from effects, preferring a more natural sound. Which I've hoped is also an older sound. Lately I guess the shift is to think of using the effects and processes as a way of achieving a natural older sound. A bit ironic, but maybe a fun departure.
Do you have plans to perform with more instrumentation, (as opposed to solo performances)?
Yes. I often play with a band for my bigger shows. The Counterpoint CD release had a 12 piece band. I often play with a trio consisting of Jherek Bischoff on bass and Michael McQuilken on drums. Then for really big shows I add strings and/or brass. It is a lot of fun and I think my strength as a band leader and arranger is slowly growing. I wish I could afford to do it more often. But I like to only employ these people when I know I can afford to compensate them well.
In an interesting way, your musical path reminds me of Artis the Spoonman. Both of you are Seattle musicians; both of you have chosen fairly alternative musical paths, and both of you have a great deal of integrity. Have you been inspired at all by Artis, his music or his life?
I love Artis. I remember one of the first days I was playing out on the street, seeing this kind older man watching me with the biggest grin on his face. I had no idea who he was. He came up and said some kind words to me. Still didn't know. A few months later I was walking and saw him performing. My god, that guy was the spoonman. He gave me a lot of very important encouragement really early on in my making the work public and in his way has done a lot to promote me. We only see each other at festivals. And of course he is an absolutely amazing performer. His whole body dances when he plays. That is really rare. And something I admire very much. I hope I capture some of that passion when I do my little dance.
Do you see the ability to record your own CDs, and the capability of using the Internet as a marketing tool, as being crucial to your path as a musician/performer? Is this a direction that "alternative" musicians need to follow these days?
Yup. The tools are there. Use them if you can. It is a HUGE amount of work for me. Booking, promoting, working on the web page, etc. But it would be much worse without these new tools. They are incredibly empowering. If you are willing to do the work, you don't need a record label, a manager, anything. Which is a very liberating thing.
Are there any local musicians that in your mind are producing really valuable work? I'm thinking, for myself, of Damien Jurado.
Probably . . . I am not as familiar with his work as I should be. We once played a show together . . .
Growing up I was really into NoMeansNo. They are from nearby. Incredible energy as live performers. Wow. And they had grey hair! I love that. And they are still at it more than ten years later. Their new stuff hasn't been as exciting.
A lot of the local stuff over the years just hasn't really grabbed me. I am not really part of any scene. And the bulk of music that is I can't really latch on to. But I am just a terrible fan. I pretty much love things that my friends do. Jherek has been working on the most incredible solo recordings. He calls the project Pablo Neruda and no one will hear it but it is one of the best collections of music that will be released this year in the northwest.
Well that wraps it up. Thanks very much for taking the time for this Jason, and best of luck with the remainder of your summer tour.
