8/28/2023 0 Comments Signpost questionsBut I’m also constantly trawling You Tube, Vimeo etc. At the moment, I’m in the J’s (because, of course my collection is arranged alphabetically we music geeks are nothing if not anal) and have on the Jeph Jerman/Tim Barnes album, ‘Matterings’ which, coincidentally enough, is also on Erstwhile. I have a longstanding habit of actually listening through my collection, which takes years. Well, I have music on almost all the time. No research as such, but really concentrated listening and recollection of events.Ĭould you take us through a day in your life, from a possible morning routine through to your work? Do you have a fixed schedule? How do music and other aspects of your life feed back into each other - do you separate them or instead try to make them blend seamlessly? I really tried to immerse the reader both in the experience of being with Keith and John for the several days around the session, all that transpired, and went into the resultant recording in great depth. So writing about it at length for Bagatellen (it’s no longer accessible online but is reproduced in my biography of Rowe) was something special. It’s dearness to me rests on two facts: 1) that Jon Abbey and I were in attendance at the recording in Nancy, France in January 2003, the only ones in the theater apart from the musicians and a recording engineer somewhere behind the scene and 2) that the subsequent recording is possibly my all-time favorite piece of music. The first thing that comes to mind is the piece I did upon the release of ‘Duos for Doris’, by Keith Rowe and John Tilbury, on Erstwhile Records. A fascinating experience.Ĭan you take me through your process on the basis of a piece that’s particularly dear to you? How did you decide what to write about, what did you start with, what sources did you draw from for research purposes and how did the piece gradually take shape? I had to do a drawing based on music I was listening to (which was, itself, derived from looking at a visual work) which would then be used as a score by other musicians. A couple of years ago, in Sokołowsko, Poland, I was shanghaied into a project of Keith Rowe’s involving a back and forth between visual imagery and music. Afterward we met, described our experiences. Forty-eight other people were, at the same time, doing something elsewhere in New York City and the thought of all this synchronous but separate activity was somehow very moving. I stood on a nondescript street corner on Staten Island for 45 minutes one Sunday afternoon, and wrote a few pages on the sounds I was hearing. One was a realization of Cage’s ’49 Waltzes for the Five Boroughs’, organized by Kurt Gottschalk. I’ve participated in several projects where my writing or art was an element that were greatly rewarding. I don’t think I’ve ever really done that, at least in a strictly critical format. ![]() What role do they play in your approach and what are your preferred ways of engaging with other creatives, writers and possibly even the artists you’re interviewing or working with for a piece?
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