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> From: email@example.com
> Reply To: Loopers-Delight@annihilist.com
> Sent: Thursday, February 19, 1998 10:07 AM
> To: LiebigSA@maritz.com
> Subject: Re: Looping/music/audience/commerce
> >For every musician who wants to
> >carry around a ton of gear and make strange, beautiful and probably
> >unusual music . . .
> But do we really _need_ a ton of gear, or is this just kind of a
> security blanket? Seems to me, all that's really _needed_ to loop
> sucessfully is a couple of pieces of gear, at least in my world. Much
> looped music IS crap, as is much of music in general. I've long been
> considered an "out" player, however I feel that one MUST take into
> the musicality and purpose behind everything we do on stage or in the
> studio. People's tastes will vary, but at no time should we use a
> piece of
> technology simply because it exists. (ANY technology: eg. If a Piano
> going to muddy up the texture in an undesirable or unmusical way, WHY
Right just pointing out the extremes. I'm with you on the usage of tools
(caught some flack for that earlier on). Personally I dumped a stereo
processor/looping rig, for a Walter Woods and an EH-16 plus a couple of
pedals so that I could be MOBILE and play small plcaes with a minimun of
set-up time involved.
> >[By the way another
> >thing about guitar players being the nexus of this stuff, we bass
> >players-and drummers?-are practically taught that effects and
> >but the sacrosanct "GROOVE" are verboten.]
> Don't mean to let my jazz roots show too much, but have you ever heard
> Gerry Hemmingway or Jaco? Both these guys have _LOOPED_ and I've
> heard anything that these guys have done that hasn't grooved _HARD_.
Yeah I've heard of 'em . . . am I supposed to feel put down?
Still they are the anomolies. I have tons of Gerry Hemingway stuff, and
Jaco . . . well I am a bass player after all. By the way, Les McCann's
bass player in the early '70s, Jimmy Rowser, used to do an Echoplex/loop
solo that both grooved (and he could) and had cool be-bop melodic and
harmonic shit going on . . . (also are you all hip to the fact that Les
used to have a FOUR-channel Echoplex that he did looping solos with?)
Just talking about the perceptions that one has to fight against. I'm a
bass player, I loop and don't always play "groove" music . . . whatever
the moment requires.
> Can't argue here. Personally, I love the small venues and being able
> to do
> what I do without corporate types breathing down my neck to play a
> way. (Lived that, and, well, no thank you.) To me, musical wallpaper
> sucks, but we are entertainers. We can sit here and verbally
> about how we are creating high art and all that all day long, but if
> there's not at least one person sitting in the audience tonight, I'm
> performing, I'm practicing. I'm happy playing to that one person if
> they're really into it, and if I can pay my bills, and have a dental
> then my "day job" has served it's purpose.
Just pointing out that there's a price to pay for the daily bread that
doesn't always have to do with being creative. I've been through the
corporate meat grinder too, hence some of my opinions. I have a day job
PRECISELY beacuse I don't want o ruin an important part of my life. I
wonder if a painter feels the same about an audience. I feel that "art "
has its place. I don't know if Im "creating high art" all I can do is do
what makes me happy, and "keep fighting the good fight."
> most people on this
> list have as much in common with the superstars of pop as we do with a
> trial lawyer. (My appologies to any looping lawyers out there.)
My point exactly.
> >I guess that what I'm saying is that the "how to get to people"
> >is not going to be easily answered being, as I see it, a societal
> >awareness issue. WE ARE ANOMALIES. Most people don't want to know
> >anything other than what they know, they're pretty much happy with
> >they have . . . and if they aren't, they search something else
> >out-they're already looking and may have found the EDP, insane music,
> >etc. How do we nurture these people? I think by creating "hubs" of
> >activity (see below).
> Yes, yes, and YES! (Preach brother)
Um, . . . okay (?)
> Seems to have worked for our friend John Zorn and the
> Factory scene musicians. What? Zorn owns two lables now and is
> to getting the unusual noticed. No, no Zorn record will ever go gold
> make the charts, but the "small" audience is pretty large and is
> What's more, this audience is commited to supporting creative music
> and is
> passing this love on to another generation.
Right, that's a good case in point. I played at the Knit in January
(travelled from LA to make 50 bucks, what a dweeb . . . seriously it was
great fun). I was impressed by the fact that they basically have three
bands a night in the alterKnit, a "lounge," and a main stage where they
have more high-prfile artists. TIm Berne has his own label now too,
likewise Vinny Golia in LA (there's a decent scene here too, likewise in
SF). You're in CO? How are things out there? Ron Mles is from Denver,
> >Support Creative Music where you can.