Part 2- How Piety St Studios started; paradox of a successful studio starting in 2001;...still using analog; how the studio gained wide renown; Cash Money; Vida Blue; changes in musical styles since the Boiler Room- collage/mashup/jazz; Kidd Jordan; about offending people with music; Lukas Ligeti; bringing the spirit world in; John Swenson's book; transcending style; unspoken, secret language amongst musicians; changes in new orleans culture; the New Orleans Jazz and Heritage Festival's problems with artist relations; the changes on Frenchmen St; the Williamsburg-ing of The Bywater; deep wishes; the rise of the cool St. Claude music scene- Allways Lounge; what he's currently interested in locally and what's going through the studio now; looking for a happy ending to the way things are in relation to recording now.
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.
Part 4- The actual "secret" training to be a producer in LA, "technical" recording versus responding to the situation at hand, what makes a good studio, New Orleans musical myopia, encountering racial division in New Orleans music, Allison Miner, working for Rounder records, reinforcement of bogus New Orleans mythologies, brass bands and the growth of the players in them, why people are interested in Piety St studios, producing now, current ideas, difference between recordings of the past and present, what stands out.
Mark Bingham talks in depth about some key times in his life in music. A lot came to light in this interview and, although we have been friends for years, I learned a lot of pieces of information that made sense of some parts of his life and work that I didn't realize.
Mark's contribution to New Orleans's music scene starts back in 1982. Most of this interview deals with stuff earlier than that. Even though it's a long interview and has a lot of information, a lot was left out due to time limitation. Mark is a real good anecdote dropper- very useful in this format and we may get into a 2nd interview to tackle more impressions of the diversity of artists he has worked with.
Part 1 deals with early recording experiments in high school, discovery by the music business, electronic music, early approach to song writing, Los Angeles, university life in Indiana, and association with composer, Iannis Xenakis.