Part 4- moving into playing with Naked On The Floor, James Singleton, Michael Ray and groups that were most compatible with the culmination of Tim's development; how you got gigs in the old days; difficulties in presenting creative music now; being on the same path as when his music life began; dalliances with the music business and conflict of ideas; playing with Anders Osborne and being able to convince him that a live recording was the way to go; sessions with Daniel Lanois; revisiting his line of development through YouTube.
Here is a second, concluding interview with a big contributor the current face of New Orleans music. Mark is a good talker and pretty free with colorful stories about artists and the machine that keeps them "out there." This talk has quite a different flavor from the first interview.
Part 1- Initial move to New Orleans; meeting and doing work with WWOZ; acquiring studio gear for New Orleans; first studio recordings:John Cleary, Bunchy, Mike Ward, Amadee Castanell, John Mooney; how the Boiler Room came about; cheap acquisition of 2.25 inch tape machines; differences in recording spaces; who was recorded at the Boiler Room; Lump and Ben Ellman; Delfeayo Marsalis; Glenn Patscha, Johnny Vidacovich; What changed since the days of the Boiler Room; the other studios in New Orleans in the 90's; angry studio customers and mistaken blame; the kinds of work Mark has to do in the studio; why the Boiler Room folded.
WWOZ radio DJ, Michael Dominici had the idea to take some of what has been happening in these interviews and take it onto WWOZ during his radio show. There were time constraints that didn't allow us, with our summer schedules, to do this live so we pre-recorded it on May 28th,2011. Mark Bingham allowed us to do the interview at Piety St. Studios so we sat down for about an hour and discussed a few things pertaining to recording, time perception, thinking of music for now, anachronistic music, and observations on a few other musicians around the scene including Quintron, Ratty Scurvics, Clint Maedgen and others. Other things were touched on too. The conversation ranges from light and humorous to a tinkering with quasi-meta-musico-profundums.
This will probably be quite edited for WWOZ radio broadcast so here is an opportunity to hear it in its entirety.
Michael Dominici is a DJ, a very aware listener and New Orleans lover and culture observer. Cellist,Helen Gillethas been an active professional musician around New Orleans for many years now. Mark Bingham is a renowned record producer, composer, engineer, song writer etc.
Helen and Mark have both been individually interviewed for this series at an earlier time. Both are available from this site on the interviews page.
Jeff Albert is more than a musician. Like a few others interviewed here he has contributed to the New Orleans music scene through the Tuesday Open Ears series at the Blue Nile. The series allows an open forum for a wide variety of musical performance. It is a rare night where one can witness any sort of musical exploration. Through improving the breadth of what is presented he has contributed to the formation of musical groups and associations of musicians that otherwise would not have a place to develop their playing and ideas. It also brings in adventurous groups from outside New Orleans. Jeff has developed his own expression and his self- understanding steadily over the years. He has learned a great deal from his own associations with musicians and gigs and he shares a lot about those experiences here. There is also interesting information about the trombone and electronic music.
More on Jeff and the Open Ears Music Series can be found at www.openearsmusic.org
Part 1- How the open ears series came about, what it is, whether it is still doing what he wants, what it's relationship is to the reconstruction after Hurricane Katrina; influences of Chicago improvising musicians and how he formed alliances with those musicians; improvisation itself, what the relation is to jazz; tradition and lineage in improvisational music; early biographical information -growing up in Lafayette; starting trombone in band class and the pros and cons of that level of music education.
Complexity in music signifying consciousness expansion, opinions of LSD, more on aforementioned artists, "rocking," virtuosity, seeing the Rolling Stones/ Stevie Wonder, first experiences playing in New York live music scene, blues and emotional power, heyday of progressive rock/ fusion and backlash against it, more on Arthur Cunningham, Gullah community.
Early biographical information relating to music; piano lessons, fat people on low instruments, first ideas and exposure to improvisation, lessons with Arthur Cunningham in jazz, the differences between that previous classical training, beginnings of recomposition and reharmonization, talent for music theory, the problem with current music theory teaching, becoming aware of relationship between music and society, exposure to Charles Mingus, Tony Williams, John Mclaughlin, LSD.
Interview clips of Alex Mcmurray just prior to the Chazfestival (2009).
4 part interview.
- Here Alex talks about the origins of chazfest, the tin men and their involvement, musical experience, and the ideas behind Chazfestival.