The sound of the release grabs you, a rich textured sound that is lyrically intense yet melodically accessible. How did the record come together and was their any intentional emphasis put on the final fix to obtain a more old school fusion approach?
S.A. "As with many creative endeavors, this project started out as something else entirely, and somewhat "morphed" along the way to become "Generations." I knew I wanted to do an instrumental album, and had some of the material going in, but much of it was created along the way also.I'm always intentional about crafting a sound palette that is substantive and has depth. I've always enjoyed musical layers, and I think as a result much of my writing involves the layering of sound in ways that are (hopefully!) rich and complementary, without being too think to understand. The other quotient is my interest in melody. There are some forms of jazz and contemporary jazz that don't involve too much melody, and I actually quite like these...that said, I've always believed that a good melody is very rewarding, and so I often seek those out in the music I write. But what I really enjoy are melodies that float around...that is, they move from instrument to instrument, and from layer to layer, so that as you listen to the piece, you're being danced around a bit. That's compelling to me.
You strike me as more of a throw back artist in the classic Bob James mode. I hear compositions with textural variety that tend to run deeper than some of your contemporaries. Can you talk to us about your inspiration as it comes working as a composer?
S.A. "That's a huge compliment I'm not sure I deserve but it is much appreciated! Composing to me, is like creating an oil painting. As much as I may have some idea of what I want to compost at the start, it rarely ends up how I think it;s going to. When painting, its common to lay down a base then add layers of color to create the image on the canvas. Oil paints also stay wet for a very long period of time, which allow revision and modification to the piece long after its been started. Music is the same. You work on a piece only to get started really. At some point, the piece takes on a life of its own, and then you're just fostering it along to its own end. My inspiration comes mostly from memories and emotions. For me, the recording process is simply putting the paint on the canvas. It's very experimental, and is a constantly changing state until the very end. I've been writing music for over 20 years, and while the technology has advanced quite a bit over that time, the underlying process hasn't changed much; an assemblage of voices all working toward a common musical theme.
In working with Darren Rahn on Generations, what is the most important lesson you took with you?
S.A. "Darren has been a tremendous gift on this project but professionally and personally. What's really wonderful about it is that I was not seeking him out; that is a bit of serendipity brought us together, and the results-I think-are outstanding. Clearly, he is a uniquely gifted and extremely talented musician, and his contributions to "Generations: have raised the bar for me. Simply put, I'm a better musician today having had him participate in the project. Darren is a generous and selfless individual who represents the best in character of what the industry has to offer. Above all, I'm grateful to consider him a friend, and I hope we will be able to work together again on future projects.
my revewiew for Generations: http://www.blogger.com/blogger.g?blogID=8267386462362958080#editor/target=post;postID=4731070931425414275
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