Does any one remember rotary phones? My biggest challenge with those phones was lack of privacy. There was no solitude when conversing; who ever was in the kitchen or living room became an audience to conversations with girl friends. I hated that.
I remember my first debit card. It felt like The Beast was taking over civilization, creating minions of mindless citizens who no longer had to count out cash. Now there is currency based on algorithms; who knew.
I finally started talking to Siri. My Iphone face plate needs replacing and I discovered I could open apps by commanding Siri. She is the only person I’m comfortable with not thanking, but still catch myself.
The ultimate good old days: using analog and digital drums for decades before going back to acoustic.
If I’m using a loop or sample, I make my own. It’s first generation and hasn’t had its 2nd and 3rd harmonics erased and then manipulated back. The weird thing – my samples actually punch through the mix with out having to depend on much filtering.
Excuses are like armpits: everyone has two and they both stink. Doesn’t matter the subject or the situation.
Social media, brother, what a rabbit hole. How many times a day do I check my phone? Leave it up to a former smoker to fidget, having an intense need to have something at my finger tips; a great way to waste time.
Delloitte, a multinational professional services network, conducted a study on smart phone usage. They found out of 270 million smart phone users, each looks at their phone 52 times a day. That is a total of over 14 billion times each day. What a waste of time. How did we survive pre-cell phone?
How about getting lost on the internet? When I first discovered online I would be just ‘Gone’ for hours; lost in front of the screen.
The simple reason I’m not getting anything done – I’m not getting anything done. I allow constant distractions. There isn’t actionable motion; progress is only accomplished one step at a time. Spending my life away on a smart phone isn’t helping.
I started writing a blues tune called Flat Screen Zombies but never finished it. My Facebook feed blew up and, well, you know.
Yep, I’ve figured it out; the ultimate conspiracy theory resolved. I’m staking my reputation on this and those who know me understand the bar isn’t really set that high.
The reason why there is so much confusion and uncertainty in this time Covid 19 is because the aliens have invaded us. Some people will expect me to prove that the aliens are actually here. My response is –
Prove to me they are not!
It’s the only logical conclusion.
I’ve been around for a while and have seen some things. I remember when I was little, year after year my Mom would put water in Ball Mason canning jars. I would ask, “Mommy, why are you canning water?” And Mom, in her motherly wisdom would tell me, “Well, Honey, in case the Russians drop the atomic bomb on us we need to have enough water.” Oh, that makes sense. Being five years old, and having watched a war movie or two with Dad, I understood the implications of being blown up. Back then it was the Russians, they were the problem, because I couldn’t prove that the Russians were not going to blow us up.
There is confusion at all levels of society, especially in national, state and local government. As humans, we don’t operate well in shades of grey and unknowing. Well, there is no need to be uncertain.
It has to be the aliens. I hope Will Smith can save us again.
There you go, one less thing to worry about. You’re welcome!
Adam: My first experience with digital audio was Voyetra. It was basically a MIDI orchestral arranger. Before Voyetra I was using Cakewalk for its MIDI capabilities. Do you remember how you discovered MIDI?
Adam: A buddy of mine had a Yamaha drum machine. I had a Casio CZ-101; I still have one.
Mackncheeze: We did an album with a CZ-101.
Adam: The sounds that you can get out of that thing, it’s the only place where you can get those sounds. We did so much with that thing, so much.
How I figured out MIDI was that the drum machine had MIDI in and out and I had a set of MIDI cables. The very first thing I did was use the drum machine controlling the keyboard. From there it was like, “What else can I do?”
From that point on digital audio workstations would combine both the digital element and the MIDI element.
I was already at the point where I was editing MIDI with Cakewalk, that was before audio was integrated. I was using every component of MIDI, I learned everything that it could do. If the performance wasn’t doing what I wanted I would look at another control to see how I could manipulate the response; that would get me closer to what I was hearing in my head, basically just playing around with numbers. You have the value 0 to 127 in about a thousand different places. What am I going to do, what are the combinations of 0 to 127 going to be? At the time the possibilities were endless.
Me: Do you manipulate audio transfer with MIDI?
Adam: Sometimes. One of my songs I took the vocals, I turned it into a MIDI file. I’ve got that file playing strings in unison with the vocals; and it’s dead on.
Now I consider using MIDI like ketchup; it’s an accoutrement. I don’t like ketchup; I don’t put ketchup on anything but meatloaf. Sometimes I need to make a choice of which is the more direct route to accomplishing my goal. Sometimes using MIDI is faster, sometimes manipulating the audio is faster. Mostly what I’m doing with MIDI these days is globally tweaking the velocities. I don’t do the surgical shit I used to.
I’m glad I know the surgical process because every now and then I’ve got to go in and just change one note.
Mackncheeze: I’ve never had the patience to go to that level. What made you make the transition to multi-track recording?
Adam: It just kind of happened; probably very slowly. It was one of those things where I just looked back and said, “Ten years ago I was doing that and now I’m doing this.” It wasn’t a conscious process; my abilities would outgrow the equipment that I was using. I’m like, “Okay, I’ve got to get more money to get more equipment.”
Mackncheeze: Awe, so you’re a gear slut. Tell me about your guitar processor.
Adam: It’s a DigiTech GSP 2101 which I bought in 1992. It was really ahead of its time.
This thing is not a modeling preamp, it’s a tube preamp. Every effect that is available is in there; wah to resonance to everything in between. If I could get it done with a tube amp I would use that. The DigiTech has tube distortion so if I need that crunch it’s there, there is no solid state processing. It sounds like an amp.
Me: What are your philosophies on recording?
Adam: You have to capture the mood as early as possible; without losing the mood. Get the best sound that you possibly can; get the idea down while the mood is there. The first impression is always the most important. Whatever made you want to record that idea in the first place, you’ve got to capture that, if you can capture that on tape you can recreate it.
You can learn that mood. If you can make it feel the same way, you’ve nailed it. I don’t know if I can actually do that but at least I can capture the mood, the groove and tone that inspired me in the first place. Then I get the euphoria when I do something great, now I’ve got something to build on.
Mackncheeze: What is your songwriting process?
Adam: Pretty much what I just explained; it’s never planned. Usually I’ll be getting ready to practice, I’ll turn on the amp, I’ll put on a drum loop, drag the loop out for about a hundred measures, and I just start jamming. As I’m playing along something inspires me, I will stop and press record. Most of the songs that I write, if I write a song and finish it, it’s usually right then and there. From beginning to end I have about 90% of it, the whole concept is there. Every single song is different.
I have no habits when it comes to songwriting. I could sit and just jam on rhythms for hours; work with a drum loop and just go. Why? Because it feels good and that’s it.
Mackncheeze: What are your current projects?
Adam: I’m working with John Wright, a great friend and great guy. We first met when he came over to just to do a quick 3 to 4 singer-songwriter type demo. That turned into the Stone Lantern CD. Nothing that I have written is on that CD. We took the project up to Paradise Sound in Index and had Paul Higgins lay down drums. I did all the mixing and mastering here.
Videos that Joe O’Hearn and I are working on for the Wicked Snake Bite project.
I’m working with Amy Turner.
Working with other musicians, it needs to be instinctive. Practice is everything; if you don’t practice you don’t see the results.
Mackncheeze: Some challenges you face?
These days everything takes time. The other day I was getting mad because I was thinking, “I have to work today but I have no errands to do.” I was thinking I was going to get 3 to 4 hours of practice in. It was 8:30 before I could sit down to do anything; I barely had enough time to warm up. I was too tired and not in the mood anymore. No one’s fault, it’s just the way life is.
Mackncheeze: Where do you see yourself headed? What are your motivations?
Adam: My motivation is the same that it has always been; it is to make me happy first. I don’t think of money. The ultimate goal is to just have some fun and do it. If I’m in a situation where it’s not fun anymore, if it’s getting too political, or people in the band or arguing the difference between an F or an F#, as far as I’m concerned, pick one or the other, we’re not cutting a Yes album. I refuse to argue about music; it’s not worth it, nor am I interested. I can’t motivate myself for something I’m not interested in.
If there’s decent money on the table then I might be interested other than just doing it for fun. Money can be as much a motivator as a cool voicing you’ve never played before. “Triads, you want to pay me for triads? What kind of triads do you want?”
Mackncheeze: So you’re running Sound Forge and Cakewalk? Is that a new version of Cakewalk?
Adam: It’s the new version; it’s the one that Bandlab took over. Bandlab bought Cakewalk from Gibson after Gibson pretty much abandoned it; they just stop developing it. I had paid a lifetime licensing fee for it and then Gibson dumped it.
Mackncheeze: What is it you want to say?
Adam: Music is just for everyone to enjoy, it’s not a competition, it’s not a statement, it’s not a protest. I hate protest music, some great stuff has come from it but I’m not interested in messages. I’m not against messages, obviously that would be very stupid. I just don’t need a message in the music. I grew up on Van Halen, Rush, AC DC, Judas Priest; I like instrumentals, I like jazz , there’s a lot of country I enjoy, I love the early days of rap. I can listen to some old Judas Priest and say to myself, “That was pretty Neanderthal wasn’t it?” Did they do a good job of it? Damn right they did; not a lot of deep messages there.
Good lyrics? I don’t really hear the words as much as I do the syllables; it’s like I’m color-blind in that way. I hear the syllable with the notes and if they flow that’s great. I could listen to a song my whole life and not know the words.
I don’t care what the words are, I just want the music to flow. Someone could ask me what the words to a specific Zeppelin tune are and I’d have to say, I don’t know. If someone starts singing it and I’ll say, “Oh yeah, I know that song.” If they speak the words I’ll have no idea what the song is. Music is about feeling good, I don’t care about the message.
As far as my own playing? I’m probably like every other musician, I am my own worst critic. I very rarely like my playing or what I do. If I capture the moment, I like what I did right there, something I can listen back to a lot.
Adam: I love music. I do what I say I’m going to do and that nails it. If I’m going to do it, I’m going to do it; I’m not going to tell you otherwise or act otherwise.
Mackncheeze: What got you started in all this?
Adam: Weed and Kiss. Seriously.
A friend of mine had an old Sears guitar and a Vox AC 30 amp. We didn’t know what we had. Before we knew how to make it work we would just turn up the amp feedback on the reverb and throw out obscenities. We didn’t sound any better than my six-year-old nephew who’s right now trying to learn guitar. We were having a ball; we destroyed the amp and the guitar.
We were sitting in my friend’s bedroom, listening to Kiss and I had the guitar in my hand. I played seven notes, and you know that feeling you get when the music you’re performing is just perfect, you get that high, it was like, “Hey, these things actually work.” From then on it was like, “Hey, that’s it!” The magic was there.
It’s like being addicted to a drug. Sometimes it happens in the studio, sometimes it happens on stage, sometimes it happens just thinking of an idea. I’ll be in bed thinking about something and telling myself I’ve got to record this thing.
For the rest of my life I’ve always been searching for that feeling. Ultimately, when you are playing music, you’re trying to please yourself. You hope everybody else likes it but if you please yourself then there is success. That’s what it’s all about for me. It’s such a rare occurrence and I’m trying to get back to that point again. I know it’s only going to last a minute or so, and then I spend the next three months trying to make it happen.
The best thing that ever happened was Facebook because the people that really mattered in my life, we are now all back together again. Most of us stayed involved with music one way or another. We loved every minute of it and still do. We share our projects with one another with a little more expertise than we had when we were younger.
Mackncheeze: So your high school band experience…
Adam: We had different bands; we weren’t actually doing the high school dance scene or anything. There was a group of us and we knew we were good; we were having fun playing and we knew we could play.
Mackncheeze: So tell me about your dad…
Adam: My dad is amazing. Growing up we used to hear him every single day just playing scales on piano; all scales and exercises everyday, four hours at a time. We grew up listening to virtuoso practice everyday. It was the way it was and that’s how my father lived.
We would go into Manhattan regularly and my dad would be working on some Off Broadway show. There were always good musicians and good music around the house: classical, jazz, Henry Mancini, Burt Bacharach. He would be listening to this stuff and then just rip it at practice.
I had to know where I stood on the guitar before I realized how astronomically good my father was. There was nothing he couldn’t do. Give him any tune and he could play it stylistically perfect in any interpretation: Fugue, jazz, classical, whatever he felt like doing. That’s how he played all the time, it was amazing.
Mackncheeze: Did your dad teach you? Did you go to school?
Mackncheeze: Where did you learn all your theory? You know theory backwards and forwards.
Adam: We were sick of Reno and my friend Bob Knight, who is an amazing bass player, we both moved to Washington. My dad was already here and said there was a pretty good music scene going on.
After we moved to Washington from Nevada, I went to Bellevue Community College for a year. I had been playing guitar for four years and playing in bands for regularly three.
Mackncheeze: What casino was your dad working at in Lake Tahoe?
Adam: His regular gig was playing dinner piano at the top of Harrah’s, but he would also get side gigs at other casinos. Before that he was the piano player and arranger for my grandfather’s band, The Al Tronti Orchestra, at the Sahara Tahoe. My dad played with Sinatra, Sammy Davis Jr., Sonny and Cher, The Jackson 5, Frank Gorshin, The Carpenters, Phyllis Diller, with whoever. Think of the major acts of that era and he played with them.
After that my dad had to hustle. He came to Seattle in about 1982 or 1983 and did a 20-year stint at the SeaTac Holiday Inn playing the main dining room.
I came up in late ’84. When I had first moved to Seattle I took Bob with me to an audition for this band called The Earl White Review. Bob was getting ready to audition for the band and I was talking to Earl and he found out I was a guitar player. He asked me to bring my guitar and amp to his hotel the next night and I sat down and played with some tapes.
I was playing along with a bunch of tunes he had and he asked me if I wanted to play in the band. I said, “Oh yeah, this will be kind of interesting.” I’d only been playing for four years; I wasn’t a seasoned pro by any means. I had been playing mostly 80’s pop metal, and now all of the sudden I’m playing covers like Tina Turner, Chuck Berry, a huge amount of Motown, some goofy hits from the 40s to the mid-80s.
That was a Tuesday that I took Bob to the audition, it was a Wednesday that I sat in the hotel room and played to the cassette. Thursday I showed up for rehearsal and by Friday the guitar player and the keyboard player were gone.
I didn’t know any songs on the set list and we opened on Friday at the Cotton Club on Martin Luther King way. We were booked for a week. My plan was to follow along discreetly with the set and try to stay out of everybody’s way until I learned the music. But now I was told I had to carry the whole thing and I didn’t know any of the tunes. That night we played a lot of Blues.
I worked with Earl for about a year and then that ended because of extenuating circumstances. After my tenure with Earl I went to Bellevue Community College.
That’s where I learned theory. Because I was living with my dad at the time, if I had questions about something that didn’t sound right, he would direct me into the way I needed to go. My dad was an arranger and he was used to writing out music for an entire orchestra. He would do all the copying for each part for each instrument; every bit of it was second nature.
Mackncheeze: How did you get involved with recording?
Adam: Before I even knew how to play I would plug my guitar into my dad’s stereo quarter inch input. I didn’t have an amp at the time. It sounded like garbage. I recorded onto a little Radio Shack cassette thing. I was farting around with the cassette player, I would play something through my dad’s stereo and record it and then I would jam along with the playback. I decided it would be cool if I could record me trying to play along with those cassette recordings; I bought another cassette player.
I had this cheap little mic, I had my little practice amp, I would play back the cassette recording and jam to it and record it onto the other cassette player via the little mic.
I realized the cassette player had outputs, so I was able to accomplish a multi-track recording by recording one track into the right Channel and another track into the Left Channel. I was 15 years old and I realized I needed to do something else. I utilized that for a while before I got a 4-track cassette recorder. It was a Tascam Ministudio Porta One, which I still have.
Mackncheeze: You never got rid of it?
Adam: I keep it because I still have old recordings that I can play back.
We recorded my dad at Kearney Barton Studios in Lake Forest Park. His Studio was immaculate. He had a full size grand piano. Hendrix had recorded there a few times, among others, a veritable whose who.
I mastered my dad’s recordings on Cool Edit Pro which was freeware. I paid 10 or 20 bucks for the pro version in about 1994, 1995. I didn’t know what I was doing; I just winged it and it turned out okay.
That was my first mastering experience. For that time, it was basically a light version of sound Forge. That was my introduction to a stereo digital audio processing workstation; strictly working with stereo files. That’s when I when I made a distinction between recording and mastering. I was using DOS 2.0; this was before Windows even existed.
Some vocalists have super powerful abilities; lots of line in their voices, tremendous breath control and two to three octave ranges.
This vocalist has great pitch control but is a super quiet singer. Certainly great in laying down tracks quickly and efficiently, but, he ain’t Garth Brooks.
And I get asked to do this?
It’s kind of like a bald guy asking the barber to make him look like Jason Momoa.
Okay, I’m guessing he wants more depth.
Vocal tracks were cut with a Neumann TLM 102 through an LA 610.
I duplicated the original tracks four times and routed the tracks into a sub mix. I did a high and low shelf Eq on the sub mix, cutting off those frequencies which did not effect the tonality of the vocal track, reduced or flattened nasty ones. Track 1 had no plug in assignment with volume set higher than the others. Track 2, set at lower volume, had no plug in assignment but I put a little sub mix of delay. I used a two millisecond slap delay with a Waves H Delay plug in. On tracks 3 and 4 a I put two more delays of varying time delay, panned hard right and left. When those tracks were auditioned as solo, they sounded like a big gobbilty goop of delay bouncing all over the place. Putting them way down in the mix, almost to the point of inaudibility, thickened the overall vocal landscape.
(Side note, I really suggest watching Funkscribe’s break down video of Stevie Wonders Superstition. What Stevie did with delay is awe inspiring.)
I then added a vocal plate with a low pass filter, cutting off most of the verb frequency at 2 k, boosted the vocal eq sub mix with a bit of 100 hertz, and, surprise, not Garth Brooks, but one happy singer.
I just love hearing about people doing stupid things. It appeals to my twisted, satirical humor. When I heard about people drinking lysol I laughed hysterically. Yep, more candidates for the Darwin Awards. And high school kids eating soap pods, are you kidding? When I was in high school, I had more sense, I just got stoned and took drugs and drove drunk and … but eat laundry detergent? Yeah, I was a lot smarter.
Mockery, yeah, like a contact sport, I love to scoff.
Taunting, sneering, vocalizing derision for my fellow humans.
I love the word Trenchancy. It implies my behavior is incisive, keen, suggesting I am unusually caustic. Purveying effective, energetic sarcasm. I like it. I am clear cut and distinct in my level of sardonicism.
I discovered a long time ago that I flourish around folks who are less inhibited. Folks willing to expose their talents on stage have a warped, fun loving relish for life; and incredibly thick skins. Oh Lord, and an endless stream of being novel and extraordinary.
It started in high school when I hung out with the theater folks. My best friend and I worked as stage hands for the thespian group. We painted props and staging, acted as stage hands, and had great times with much laughter. They were people who understood the twist in my brain that determines my behavior.
And I learned.
These are my people-
People I feel joy being around; being comfortable with one another.
Non argumentative people, who have opinions different than my own, open to the opinions of others.
People who don’t put down others.
People open to opportunities, mine and theirs.
People who enjoy the company of my friends and family.
Those who are not envious and jealous.
Folks who listen.
No drama. Please, God, no.
Folks who do not drag down my time, whose bad choices do not affect my choices and decisions.
No such thing as perfect friends but everyone I choose to be my friend hangs in these categories.
Endorsed by Genzler Amplification, MTD Basses, GHS Strings, Tsunami Cables, Access Bags and Cases, Bartolini Electronics, Sonic Nuance Electronics
Mackncheeze: How do you describe your musical approach?
Sean: My biggest influence aside from a Rock sensibility is Funk. Growing up around Seattle and being a stringed instrumentalist in the early to mid 90s, I was definitely heavily influenced by the Grunge movement. Those sounds really stuck with me in terms of the tones I really like and the way I like to approach things. As I grew up and got into other kinds of music my stylistic sensibilities changed.
I’m really interested in the instrument itself. I can’t lie, I have an agenda, I want the bass guitar pushed further. I’m into music, but there is that old thing about doing what the song calls for and stuff like that. There is a real fine line there between truth and placation and bullshit.
I don’t want to do what everybody has done before. I have this big thing about people looking in the rear view mirror; it’s an analogy or thought in my mind. There are all these standard-bearers. I think there are so many people that are doing that, those standards are safe; we don’t need another standard-bearer.
I want to be more of an explorer. That’s a big thing for me. I like exploring sonic pallets. There is a guy named Squarepusher who is a huge influence on me, kind of an idol. If you have never heard of him, he is a world class drummer, a world class bassist, a one man shot electronic producer. He is absolutely incredible.
Mackncheeze: Tell me about your band…
Sean: My band, Combinator, started as a power trio with two really good friends. Both have found their present day lives to be incredibly different. The drummer, to this day, is one of my closest friends. So many of the bands that I have been in have been with him.
Since both of those guys have departed from the project I have looked at reforming it with other musicians. Over time I have just ended up doing everything myself. In places where I need to, I hire people to do it. I’m composing, producing, engineering, performing and mastering.
I’ll play you a song called Juggernaut where I contracted out two really good players, Josh Kossak on drums and Morgan Wick on guitar.
Morgan and I have played in the tribute band circuit for years and we play with Miller Campbell. That’s where I met Morgan; he’s like this crazy, incredible Prog Metal shred guy, with a full on music education and I know him from a country band.
In my life, through my experience as a sideman, I have been really lucky to play with some of the best. For a number of years we have all done the same gigs together so we have become friends; we are willing to work on each others stuff.
The reason for me to bring someone in instead of doing it myself is that they are an expert at something that I am not. I recognize when it’s time to let somebody do something the way they are apt to do it, but I still direct the goal.
I fell out of touch with the more progressive and aggressive music that I was into when I was younger. I’m having a really fun time exploring that and getting back to my roots.
Mackncheeze: How do you integrate the digital and acoustic/analog realm with one another?
Sean: It is a great challenge. There are so many ways to attack that question. There are no rules. In general I find electronic sounds, sonically and texturally, have more of an extreme bookend quality. They go lower and they go higher. I will use sub bass stuff, and deep hits, that sound overtly electronic. I’m not trying to pass them off as acoustic.
There are a lot of times when I want electronic percussion and a drum kit won’t work. There are other times when I want a drum kit sound. I really like mixing them together and exploring what they both do best. Mixing those two elements is something that really appeals to me. I really like to utilize and explore the benefit of both of those textures on top of each other.
I’m really into mixing organic and non-organic things.
Mackncheeze: When you are integrating this stuff into your music, are you using automation or are you drag and dropping the components?
Sean: I drag and drop it in to be present, at first, then I always use some sort of automation, in terms of volume envelopes and filters. I’m not a big midi person, but it makes a lot of sense in a lot of ways because it is so exacting. I’m not very adept at using tools that work natively with midi. I’m also not a great keyboardist, I tend to build keyboard parts, implementing two and three notes at a time.
Drums are horrible for me. If I try to program stuff in, I would rather have a drummer do that because I don’t think like a drummer. I’m not very good with sticks but I have thought about getting an SPD SX, having a midi output for that. I tend to use audio clips of things that started life as midi. There is a clip inventory in Ableton; I have a bunch of expansion packs that are licensed to be used. I try not to use things that are off the shelf; I like a lot of the sounds that sound definitely non-real.
Mackncheeze: How do you find that unique Loop that you are not afraid of someone else utilizing?
Sean: That’s a good question. I guess I always have a little bit of fear that someone will.
The way in which music production is occurring now is different than it used to be; I have to remind myself that it is not a negative thing. Hip Hop culture has really instilled new values in fans of music, it’s actually kind of fun now to use things that are recognizable. It’s a call back, a quotation to some extent; it’s like playing the Amen Break, like playing The Lick.
A little minor scale 1 2 3 4 2 7 1
Mackncheeze: I’ve been hearing that lick since I was in college band.
Sean: It’s analogous to the Wilhelm Scream. There was a western out of the 50s called The Charge At Feather River. That’s where the scream came from, it’s been used in hundreds of films. It’s named after a person called Wilhelm who was shot with an arrow and fell off his horse. The guy’s scream was so ridiculous people liked it. George Lucas is somebody who specifically used The Wilhelm Scream in many of his movies. A lot of times when Storm Troopers get killed he would used that scream. It’s like a running joke.
I’m mainly concerned with two different elements, sort of landscapes, of mixing when there are similar frequencies. I’m looking at separation of octaves, as I mentioned, I like to use a lot of really deep electronic stuff and a lot of really high electronic stuff. I want it to sit under the drums and above other instruments. The other thing I’m aware of is stereo image. You can get away with mixing a lot of stuff if you pan it correctly.
Mackncheeze: You have an example?
Sean: Recently I was confronted with that. I performed at the last NAMM Show, using my computer, and a lot of tracks; a lot of electronic and a lot of acoustic elements.
I was kind of naive; I wasn’t aware when you do live performance almost everybody mixes it to mono. I had to figure out how to get all the stuff I had separated to work well when it’s all stacked vertically.
I discovered that about three days before the performance; I had to remix like a mad dash. In order to get a proper sounding mix in a mono environment I had to filter the individual instruments and loops by cutting off where something starts and where something ends. Psychoacoustics plays into this, a field I am interested in but don’t know enough about.
Mackncheeze: Could you explain the concept to me?
Sean: Psychoacoustics has to do with the brain’s perception of sound. The analogy is – when you are talking to someone on the phone you know whether they have a bass voice or a shrill voice even though the phone speaker only reproduces sounds down to 600 Hertz. A person hears the specific key outline of a voice of someone who has a very low centered voice. If it’s very low it has harmonics that happen at predictable places. You can hear the sound and can tell that this person has a really deep voice, even if you hear it through a tin can speaker. You know he does because of the timbre; your brain fills in the empty places.
When you’re talking on the phone your brain doesn’t fill in the sound as if you’re talking to somebody on a sub woofer, but in a musical mix it can work that way. As a bass player that is really important because what we have to do all the time is to cut off all the frequencies we really like for the drummers.
The way that I typically produce, the lowest frequencies in my mix belong to the kick; bass guitar has to be out of the way. I will end up high passing the bass up to a hundred hertz. I’m a five and six string bassist and we are really proud of the fact that our instruments can go down to 30 Hertz. That stuff doesn’t translate as well. If you cut it out and listen by soloing it, sometimes it doesn’t sound great. In context, it becomes all of what mixing is. The mind fills that in, especially if you have a particularly resonant bass drum, with a long decay on the track. The bass drum is a pitched instrument even though it normally is not thought of that way. It is pitch and it will fill in a lot of sonic information in the range you cut out from the bass guitar.
Mackncheeze: I understand what you’re talking about. I hadn’t connected the dots.
Sean: Every instrument has its zone where it speaks the loudest. You don’t have to cut the other zones out but you do have to make way for everything to set together.
I’m lucky that the stuff that I do does not happen to be so harmonically dense that I really have to worry. I use a lot of percussion so it is not as hard.
Mackncheeze: Who are you in the deepest sense? Who are you and what is the major question of your life?
Sean: There are a lot of different facets, a lot of different ways someone can describe themselves. Deep down I am somebody that wants to be involved with creating something new. I’m somebody who isn’t satisfied with status quo or with living a life that doesn’t result in anything tangible or appreciable. I suppose I’m afraid of being gone without a trace, someone who is afraid of mortality; we all have to face that.
Cassia and I have a daughter that is 9 months old, we call her Nugget and her nickname is DJ Nugs. Through her I feel a little bit safer in that part of me will live on. Before her, even now, I have this drive to produce something of note; I want to leave something noteworthy.
Aside from that I got a lot of stuff to say. I have a lot of strong opinions.
I have this strong rebellious streak; it always directed me to go against what my peer group thinks.
The rebelliousness I have is a major driving force, simultaneously part of the conscious question, and also subconsciously, a facet of my personality. It’s something in me. It’s kind of like a Punk attitude. I was never super into Punk but I had a punk phase and I love punk rock. It makes me who I am.
There is a process in myself that makes me fight against the dominant paradigm that surrounds me. Musically that comes out in a number of ways. Through the eclectic approach I like to take, I play Flamenco Rasgueados on bass and I really like a mixture of electronic and acoustic elements. I want to move the ball down the field from what is acceptable and what is being done.
I always want to prod people. It’s what I like to do musically.
Mackncheeze: Thanks, Sean. Wow, that was some incredible stuff.
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Sean: As a bassist, I’ve been playing for 25 years.
I fell in love with the instrument. I quit middle school band. There wasn’t a spot in the school band for an electric bass player. The band director was upset with me because he was a saxophone player. I had been performing in early morning classical quartets with him, and he was grooming me to follow his footsteps.
At that time I became a really, really rebellious teenager. I basically said fuck you to everything, dropped out of band and found my own way.
My high school musical experience was completely different and was totally wonderful. The band director was a very forward thinking technological guy. His name was Duane Duxbury. He ended up developing a curriculum using digital technology. This was at Jackson High School in Mill Creek.
At the time it was incredible, totally valuable and I didn’t realize it. I started building first hand experience with multi track digital recording. We were recording on High 8 tapes. It was a digital format that looked like little cassette tapes used for VHS recording. The unit was a Tascam DA 88 which could record 8 tracks; we also had a DAT Master recorder. The school got a number of the very first CDR drives. I remember being so excited to use it and buying my first blank CD for like 20 bucks in 1997 dollars. It would take 30 minutes to burn 40 minutes of content.
I got involved with Jazz choir. That was another very serendipitous thing. The Jazz choir director was an opera singer. She was a live stage person but really had no background in jazz. She was unrestrained and was a free spirit. Her name was Janet Hitt.
At one point I decided I wanted to make my living as a session musician. After high school I directed my studies to ready for that course of action. I planned to move to LA. I studied under Steve Kim; he got me ready for the move.
Mackncheeze: How was that move to LA?
Sean: ( Laughs ) That’s a whole another long story. In the end it didn’t work. It was the early days of the internet and I had done apartment shopping online. I found a place but had never seen a picture of what I was getting into.
I freaked out when I saw the place I was supposed to live. It did not have a kitchen. It was one of the few freak-outs I’ve ever had in my life. I decided LA kind of sucked. I was there for 2 weeks.
I came back and finished school, graduated from the University of Washington with a BA in linguistics and a Minor in music.
The whole experience did not stop me from playing professionally. I’m a hired side man and a recording artist. Now my focus is doing my own solo stuff.
I have worked hard and I’m starting to get notoriety for the work that I’m doing. My focus now is in composition and recordings.
I had a recent revelation. My time is normally playing with a bunch of different bands. It’s not music that I have a personal stake in. I’m a hired player. It pays a lot of the bills. The realization is that I’m ready to make a pivot away from that. I convinced myself for so long that was the way to legitimately make money.
Perhaps I’m still in the process of rediscovering that teenage excitement. For me it’s about having ownership, not playing other people’s parts, not just being a hired player.
What I’ve learned is that when I’m playing I always speak with my own voice. My favorite players are the ones who come up with their own statements and their own voice.
In a total sense, I really like a lot of chime and attack. I love players like Geddy Lee and Chris Squire and Les Claypool and Flea. I love guys who play with picks; I love present, harmonically rich sound.
I have always been a band leader, a singer and a front person. As a bass player that is not a commonality. It’s the way that I express myself in music.
Mackncheze: Who are you touring and working with.
Sean: I have a company by the name of Fairchild Sound. It does a number of things, it is my umbrella company for working as a contract player to create videos for a brand. I’m a consultant. I use it for any sort of business endeavor. It’s really not a lot of what I do. Most of what I do these days is teach and record.
Recently I have been working with Miller Campbell. She is a second cousin of Glen Campbell. I do a lot of regional shows with a Billy Joel and an Elton John tribute band. I play on remote recordings which is the majority of my session work.
I worked for Behringer for a short time. This was 7 years ago. When I was working for them at NAMM, we were doing a series where I was interviewing artists all day long. I got to interview Don Randi who is the keyboardist for The Wrecking Crew. He owns The Baked Potato jazz club in Studio City, California. Still playing. Wonderful guy, great guy. Lots of really great stories. For some stupid reason he seemed to to like me.
In my time with Behringer I was also on the team that did product reviews for salespeople. We were doing feature walk throughs, like what Sweetwater does. We were doing this on the equivalent of what, eight years ago, would now be Zoom technology. The stuff was available to the public most of the time and we would put it out on YouTube.
Mackncheeze: How did you get the gig with Bass Gear magazine.
As a bass specialist I had been writing reviews because I am incredibly nerdy. I was always into technical aspects of music and gear. I had been writing reviews on Talkbass.com for a long time. I believe the editor saw what I was doing with one of the bass products at NAMM. I received an email from him and he asked, “If you ever want to do that stuff for us we would love to have you involved.” I was hugely impressed. I was like, “Oh my God this is great.”
It’s a great publication; they care a lot about bass gear. It’s all very technical. It’s the former Bass Player Magazine. They were recently bought out by the UK’s Bass Guitar Magazine.
It used to be in print. By the time I got my first piece published it was the last print edition. I’m excited that I got to see that but also bummed that the print format is gone. At one time the distribution on that was 300,000. That’s globally.
Things definitely changed when we went online only. One of the things we struggled with is creating a format that makes it feel like a periodical publication. We publish a couple of issues a year. It’s a big collection of reviews, interviews, editorial pieces and stuff like that. It’s graphically laid out to look like an issue of a magazine, which is very cool.
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Mackncheeze: Tell me about yourself.
Sean: My parents were in the Foreign Service. I was born in Kuala Lumpur, Malaysia. There is an economic and racial disparity there. The good thing about Malaysia is that it is culturally pluralist. It has a high number of Indian Hindus, a high number of ethnic Malays, a lot of which are Muslim, and a proportion of Chinese people. The Chinese people are the minority but they are the wealthy people; they own everything. They are by and large Buddhist with some Christians.
It’s a really interesting place. As far as that part of the world is concerned all these different cultures are able to get along remarkably well. It could serve as a template for a lot of places.
After that we lived in Guangzhou, which is in southern China. I had a Chinese nanny who was part of the intelligence service of the Communist Party. My parents were aware that I had a spy nanny. The apartment was bugged. My parents tell interesting stories of me telling them stories of her taking me to the home office because she still had to do the job of a nanny. My parents learned that all the other nannies called her the Major. Apparently she was a ranking official in the intelligence service.
After China, my sister was born in Colorado. She is 3 and 1/2 years younger than me. We did not live in Colorado for long. We then moved to France.
We moved back to the U.S. and I had absolutely no common ground or frame of reference with people my age. I felt completely alienated. It really led to a pretty easy transition into this disenfranchised rock and roll, early 90s Grunge thing that was going on. It was a long time living in the States before I started to feel like I had enough stuff behind me to have common ground.
When I got into Middle School I remember there being a preliminary sort of hype for the upcoming music program. It was a way to get kids thinking about what it is they wanted to play.
I really wanted to play saxophone. When I was living in Paris I had this poster of a neon saxophone in my room. I never wanted to be a bass player or guitarist or anything like that. They wanted me to play clarinet first because that’s what they tell kids who want to play saxophone. I said nope, it’s sax or nothing.
They gave me a saxophone. For a long time I thought I was going to be a successful Jazz player. I figured, “That’s how my life is going to go from this point on.”
My parents split up; my dad kept his job and his next posting was in Tokyo. My sister and I would spend six weeks at a time with him. She had befriended this Australian cover band and they were doing pretty well. Their bass player, Kerry Dunne, had an extra bass that somebody had found in a dumpster. He had decent instruments and he had no use for it. One day he asked, “Would you like this bass?” I asked, “What’s a bass?” I have a picture of the moment he gave it to me. It’s the coolest thing ever.
This was a monumental thing that happened in my life.
I went home after that trip to Japan, which was in July, and by December I remember thinking that this is going to be the course of my life. I was 13.
Mackncheeze: What did you experience as you were traveling around the world?
I have studied five languages: English, Portuguese, Indonesian and Malay, for the most part the same language, French and German.
I went to International Schools, stuff like that.
It was a cool way to grow up.
I remember being very bitter about it by the time we left France. I remember coming to the States and being happy to forget French, happy to forget the previous life. Most of my friends were kids of military families. Being a kid in a Foreign Service family is not that common.
I missed out a lot. I did not have a common cultural base with people that were my age. I remember when I moved back here everybody knew this dog by the name of Spuds Mackenzie. I was like, “What the hell is that.” I never learned how to play baseball. I didn’t learn sports.
I still don’t realize how unusual it is until someone gets me talking about it. I know that it’s different when I hear the words come out of my mouth. I value it a lot.
Most of the time it was very uncomfortable and I was not happy about it. That’s probably why after I started playing music I used to spend seven hours a day playing. I was going to school and I was too young to work so all I did outside of that was play music.
After 25 years I recently reconnected with Kerry Dunne. Because of social media I was able to find him. I hadn’t had any contact with him since the last time I was in Japan. We have become really good friends.
What is the price of our relationships? I often joke that I do not have the emotional, intellectual, spiritual and financial capital for another girl friend.
I ask myself: what am I willing to spend to consummate my musical relationships?
The answer is simple yet surprisingly complex.
First: I haven’t got time to work with folks who are unpleasant. A good criteria – is this some one I would break bread with? Do they have a good heart? Is their conversation engaging? Do they like animals? Are they funny?
Second: Is there proficiency in their playing? Is there commitment? Are they able to back up words with action?
Third: Are they worth my friendship? I used to be altruistic in my musical relationships. No more.
Has any one you have worked with ever committed to a rehearsal and then not shown up? Did they even contact you?
I get that there exist extenuating circumstances.
Did you reschedule with them and have the same result? Those actions are an indication self importance. It is happened to me many times. I no longer give people power over me.
Maybe I appreciate the one trick pony. Fool me once, shame on you, fool me twice shame on me.
In my network and associations, I have experienced superficiality among many players; they just won’t get back to me. But the moment they want something……
Anymore, I’m not jumping through hoops. Done with that circus.
Mackncheeze: When you were at the Art Institute, did you study vocals? How did you learn to sing the way you do?
Rob: A mixture of church, singing by myself, with my quarter inch reel to reel, some vocal training; at the Art Institute there was a lot of recording. At that period of my life I wasn’t really into doing music. I wanted to be a producer and make albums. I had no interest in being an artist. There was no intention.
The first time I ever started singing was at a karaoke bar when I was stationed in Japan. At that time, most karaoke bars in Japan would have Elvis songs, some Beatles songs, Johnny Mathis. This is like 1988. Back then, in Japan, karaoke was cool because everything was on a LaserDisc. They all had videos.
Some of the most amazing bands I have seen were in Japan. This one band was a Zeppelin cover band. This Japanese dude looked just like Robert Plant, his hair and the whole nine yards. He was blind and he sang just like Plant. His pronunciation was spot-on. There was a part of me that was asking, “Is he really blind?” I’m just like, wow. A high energy, amazing show. I’ll never forget them.
So the cool thing was my Aunt Dee Dee knew Jay King who was the head guy of Club Nouveau. He was in the Army and he was stationed up in Anchorage. I was working at Miramar ( Abraxas Pool, The Storm, Steve Lukather ). I was doing a few projects for him that we’re not related to Miramar. It was more R&B and rap stuff and we hooked up a few times. The initial connection was through Japan. I was off and on in Japan for two years.
I was given the opportunity to go back into broadcast journalism in Japan and be a writer for the Stars and Stripes. The catch was that I needed to re-up for 2 years. This was right before the Gulf War. I didn’t go that route.
Mackncheeze: Please give me a history of being a DJ.
Rob: I started when I was in the Marine Corps. When I wasn’t in Japan, I was in Pohon Korea. That was a cold weather training, and I was also a part of the operation Team Spirit. North Korea’s leader Kim il-sung was firing missiles in protest of the American and South Korean operations occurring at that time.
So the club DJ did not show up.
Everybody knew I was a broadcast journalist and so they said, “Hey Brewer, you have to DJ.” I crawled up in this really small square cube glass enclosure. I’m sitting cross legged, the club is packed, all the heat is rising to the ceiling. I was in this tiny little room in my own world, just getting down , throwing down all the cuts, and keeping everyone happy. I did not know it at the time, but being a DJ would be something I would end up doing.
It was all turntables back then. I was having a good old time. That was back in the day, my first real experience with turntables. I got paid a bunch of free beer. I was happy, everybody else was happy.
Mackncheeze: I find it very interesting that you sing in two different bands, doing a DJ Act as well.
Rob: Being a DJ, I am my own entity. I control my own destiny, I don’t have to pay anybody else at the end of the night, I make my own decisions. Being in a band, you can not instantly take a gig. When a gig is offered you have to call everyone up and ask who is available. Many times booking agents and club Owners need to know right away.
As a DJ I’ve never had that problem; it’s just me.
Mackncheeze: You carry a light show?
Rob: Yes. I think ambience is important. Not only do I carry lights, I carry video as well. I have a philosophy that most people are pretty much wallflowers. I think they need an icebreaker to engage them to want to dance. If I can nostalgically take you to a period, or mentally put you in a happy place, have you visually see something that makes you think of someone else, makes you think of another time, it might engage you to want to dance.
Macknceeze: Have you thought about writing books on psychology?
Rob: I think it’s important to be a good DJ but I think you have to do a little bit more in order to get people to buy into what you are doing. Being a DJ, you definitely control the mood and the tempo of the Dance Floor. Technically, I’m not the greatest DJ ever, but I know what I need to do to make it work.
I do a little scratching, but I’m more into blending and overdubbing, I’m not trying to be a turntablist.
If you’re a turntablist, people are only going to your show to see you perform. If you’re a club DJ, people are going to a club to dance. It would be selfish of me to practice turntable technique to a packed dance floor of people trying to get their groove on. It’s good to show a level of skill, whether it’s taking a song and mashing it into another song, or recreating some songs. To me what’s important is creating my own brand and originality of style.
Mackncheeze: A technical question: if you were a DJ with a live band, could you take your discs, sans CDs, using correct tempo and scratch tracks into the band’s performance?
Rob: Oh yeah. Mackncheeze: There are not many DJ s that can do that.
Rob: That’s where some of my time at the Art Institute came into this. During that time I was producing and engineering. Knowing how to lay tracks properly, knowing how to piece together songs and how to orchestrate and collaborate, that was very important on my education. It’s one thing to know how to play an instrument but it’s another thing to know how to work as a team and work together.
Mackncheeze: Tell me about the two bands you are working with…
Rob: Midnight Radio Revival, that’s a band I’ve been with for 7 years. I took over the lead vocal position around for 11 years ago. We’ve mainly been doing psychedelic Rock from the mid-60s to the mid-70s. We call it Golden Age Heavy Rock. We cover about 80 or 90 songs.
Over the past year, Doug, our lead guitarist, has written some amazing stuff. We could continue playing covers, but our new focus now is to take some of this music that’s been written, and do it in a classic rock style. We want to record it and get it out. Certain clubs do not want a cover band; they want bands with original content. There are radio shows and TV shows that love to have a bands like that. They can’t do it with bands doing covers because of licensing agreements.
I think for a lot of the people who come to the shows, they’re like saying okay, what’s next? You can only do so many covers. Our next step is to record about seven or eight original songs. We will still do covers and blend in original material. That’s our next big step.
Bands are like sports teams. At the end of the day, after piecing all the music together, it becomes a collaborative effort. In order to have success it has to be a team effort. It’s funny because music is kind of oxymoronic; a lot of it is based on self oriented concepts where there is no team.
The other band is Cold As Ice. We’re a foreigner tribute band. We have only been doing Foreigner covers. Foreigner is a 7 piece band. We have been covering all the parts as a four-piece. We have some amazing folks. We did a show together last year on the 4th of July. That was the last gig we did. We got together before this whole corona virus thing happened. We pieced together a song list of what we were going to work on. All this came about and that’s where we’re at now.
I almost had the opportunity to play in an Earth Wind and Fire tribute band called Kalimba. The manager approached me and during the interview I was told they do about 70 shows a year. Most of the shows are out of state. As a cover band they’re probably doing better than most national Acts. It was good; I was practicing all of that Philip Bailey stuff. It helped increase my range. To me, any opportunity is always a fun challenge. To be acknowledged or even thought of as being a part of that is kind of cool.
I pretty much enjoy all aspects of music. I’m always keeping my ear to the ground.
Mackncheeze: So Rob, what do you personally want to say?
Rob: Rob Brewer, aka, DJ Forrest Gump, still has a lot of music in front of him. I have a lot of things yet to accomplish. I’m looking forward to doing those things.
I am Robert Brewer, son of Shirley Brewer, grandson of Lula Bell Brewer, from Seattle Washington, born and raised in West Seattle, at High Point.
Back in World War Two, High Point was subsidized government housing for military personnel, all the way into the 90s. High point is now gentrified; now it’s $500,000 plus Homes.
I come from a family where music was a very important part of our lives. My older sister, Kathy, her father, was a local music icon in radio; his name was Burl Barer. He was on KJR for a long time. He is not my dad.
My life has jumped through a lot of hoops. I have been a radio DJ, on and off, for 25 years.
Mackncheeze: Really, what stations?
Rob: KCMU 90.3, which later became KEXP, and KLSY 92.5. My first internship was at KFOX. 1250 AM. That was when I was in college. Bob Wickstrom was president of Bailey’s School of Broadcasting. He asked me if I would like to intern at KFOX. I would run from The Art Institute to KFOX to do it. I stayed there until the station went off the air.
Some of the first records I ever had were from my mom and my dad. When I was three, I remember my mom playing Sly and the Family Stone. One of my first vivid memories is hearing the song, Stand.
Mackncheeze: That’s a cool memory man. I love Sly Stone.
Rob: Stand, I Want To Take You Higher, those are really the first memories of my life. As I grew older I would listen to more and more of my mom’s and my aunt’s music.
My grandma loved Hee Haw. So I watched Hee Haw, Lawrence Welk, and a little bit of the Grand Ole Opry. The folks from my mom’s side are from Little Rock Arkansas and St. Louis Missouri, as well as the Mississippi Delta area. In my back ground there is some Creole, Native American, and a little bit of Haitian.
Mackncheeze: You got the turntables, you got the vinyl, that’s awesome, man.
Rob: My mom had these records which I have kept till today. My mom and my dad wrote on the album sleeves. I cherish those albums because I really feel like I have a connection with them. Through these pieces of vinyl, to me, that’s really the only true connection I have with my dad.
As a child, watching TV, my grandma always used to record me singing Michael Jackson songs; ABC, I Want You Back, stuff like that. I pray those recordings have been destroyed.
In recording, if you don’t get used to you the sound of your voice, you are going to have to either accept it or forget about it.
My aunt Catherine was the music collagist of our family. She was an amazing woman. Her life and music, in a weird, chronological way, went along with the albums she collected. I have all these older Fats Waller albums. I have a Quincy Jones 78 disc. It is a recording of Quincy’s band when he was stationed at Fort Lewis. My aunt would not only give me vinyl but tell me stories that went along with each one, how they were purchased, how each artist inspired her and why she liked them. My mom was into The Supremes, James Brown, Jimi Hendrix.
Mackncheeze: What influence started you performing?
Rob: I was the only boy in the house. I grew up in a house full of women; me, my mom, my grandma and my sister. If I wanted to hang out in the house I either had to be in my bedroom or I would be doing chores. My other choices were down at the gym or down at the park playing.
My mom gave me all of her vinyl. Some days, Seattle being drenched with rain, I would spend part of the day at the gym and spend afternoons and evenings listening to albums.
One day, my mom got me a quarter inch reel to reel tape deck. I started experimenting with recording. I would take my record player and record sounds, just goof around. Those were my early recordings.
Through a buddy of mine I got a body of a Gibson SG. There was a record record shop called Zobrist. Zobrist is the first place Jimi Hendrix got a guitar. I bought all my guitar components there. When I was 13 or 14 years old, I built my first guitar, a copy of a Gibson SG.
When I started going to High School I saved up some money, my mom helped me and I took guitar lessons. I took lessons at a place called The Rosewood guitar. That was in the U District. After school and in between playing basketball I would go there and learn guitar.
I was a decent athlete and I wanted to play basketball at Roosevelt. In the early and mid eighties Roosevelt was the number one team in the state. I had been going to private school most of my life; I wasn’t part of the Seattle public school system. That gave me an option to go wherever I wanted to go.
I would get out of class at 2, basketball practice would be at 5:30. A lot of times I would go to a place on the Ave called Kennelly Keys. The Rainbow was across the street. I would go and jam out on different guitars. After practice I would go back to the Rainbow and listen to bands play. The one band I enjoyed and listened to a lot was Robert Cray.
After High school I played basketball at Shoreline Community College. We weren’t good; we went 8 and 20 or 7 and 21 something like that, we were really bad. That was the first time in my life I had ever played on a losing team. It was unfortunate, we had some really, really good players who got caught up partying too hard.
I went into the Marine Corps which really was not my first choice. When I first started at Shoreline I had applied into ROTC Army officer training program. I felt like the process was taking too long . I remember one day I went across the hall to the Marine Corps and signed up. That was in 1988. The day after my mom’s birthday I shipped off to boot camp. Believe me that was an experience and a half.
I was in the Marine Corps for four years.
I had decent scores so my original job was a broadcast journalist. The Marine Corps School of Journalism is at Syracuse University. Towards the end of boot camp I had to take my school of Journalism tests. I was just trying to finish boot camp and I wasn’t ready to take all these tests. In the middle of physical training I was not able to focus; there was no chance to study. The only thing I was brushing up on was cleaning my M16.
They decided to send me to Wire and Comm School At Camp Lejeune, North Carolina.
Part of Comm School is that you spend three or four weeks climbing telephone poles. Most of those poles are 40 or 50 feet off the ground. The pole yard had tons of wood chips spread across the ground so if we fell 40 feet down we wouldn’t break a neck.
Mackncheeze: Did you ever fall?
Rob: Hell, yeah, I fell down many times. We were provided boots and climbing gaffs; it was never a hundred percent free fall. Poles can be really slippery, especially in the rain, especially with a lot of humidity. Where I lived in North Carolina there could be days of 90% humidity. Five, ten feet off the ground, you’re drenched in sweat.
Towards the end of my time in the military, a really good buddy of mine who has passed away, used to work at The Improv. The Improv was a comedy club that is now the Showbox.
I was doing security there. I started doing that on one of the last times I was home on leave. Larry Harris, the owner of the Improv, he used to own a couple of recording labels named Buddha and Oasis. Larry and his first cousin created a record label called Casablanca. He used to manage Kiss. Two of his other bands were Parliament and Funkadelic.
I started going to the Art Institute when I first got back. I was studying music and video production. I was inspired by one of my good friends, Russ, a super great guitar player. His group was called Bitter End. They were a heavy metal band. They were one of the last heavy metal bands pre grunge in the Seattle area. I remember seeing them on MTV when I was stationed in North Carolina. It was really cool to see my friend on National Television.
The Art Institute was one of those organizations where people would come to the school because they were infatuated with Grunge music; people seeking a musical education for not all the right reasons. For me, going into it was for all the right reasons. I knew my limits; in order to advance I knew I needed a higher level of musical education. So a combination of me going to the Art Institute and working with my friend Russ in Bitter End, and also working at The Improv , having a mentor like Larry Harris, from Casablanca, really helped me connect all the dots of entertainment. Working with Larry was not just about the whole business of music, but included the whole business of comedy and the whole business of dining.
Times were when I used to envy my married friends. But enough about my thirties. When I hit forty it was like, “What was I thinking?”
I’ve been told I would be a good father. Yeah, maybe when I cared. Now I’m selfish and jealous with my time. Life’s priorities have moved from, “I want to make time for someone,” to, “How much time is left?”
I do not live by a honey do list. It’s the, “If I don’t do it now, it won’t get done,” list.
I’m not complaining. Life is good. Life is exciting. I marvel at the timing of all going in my little world. What a blessing. Truly, my head spins at the possibilities.
Pardon me, but I sometimes forget an ordinary human being is not interested in sitting down for hour upon hour trying to perfect an imperfection. Basic nature of artistic endeavor of any sort requires lots of time spent by one’s self, working out a path of accomplishment. Social Distancing.
Wood Shedding, the old timers called it, spending hours in the back wood shed, away from the house, practicing. For me, its like, duh.
I had to learn how to conquer impatience. I always wanted to be really great but I wanted it right now. Repetitive failure inspired me to make a perpetual habit of practicing. Perfect practice makes perfect, as the adage goes; a great truth.
I have a friend who is actually a real engineer. Unlike me, he knows the inside and out of all his gear. He will unassemble a piece of equipment, replace necessary components, and reassemble. Add the fact that he is an accomplished musician, song writer and producer. The real deal.
How many times has he rotated the ten thousand hour rule?
The average person isn’t interested in these kind of commitments. I identify this as a quest for perfection. That perfect song, perfect mix, perfect rhythm section, perfect performance. All it takes is patience.
Yes, I want it right now. Why do I have to wait? Why must I fail? Why is it so hard?
In my entire life, my kids are the best thing that’s ever happened. My kids are centered and focused and on their way and they are artists. I told them if you’re not ready to go to college, don’t go to college. Their college is paid for, they don’t have to worry about it. My son said he didn’t want to go, he hates school. I said don’t go. Right now he is making wine with me. He is going to Europe with his sister and when he gets back he’ll be working harvest.
I’m a kid who grew up in the state of Washington. I’ve lived here my entire life. I have walked into pretty much all of my opportunities. I’m someone who wants to be the best human who I can possibly be. I have been able to chose from opportunities that have presented themselves. I am so lucky, so lucky.
Mackncheeze: Everyone that I talk to, who are at the top of their game, says the same thing.
Tom: We don’t make a lot of wine. It’s amazing to pull it off at 4,500 cases. We have three full-time employees. I love my staff, I have the best staff ever. They are beautiful people. They love their job.
I love all the moving parts. I get to do everything. I get to manage people, I get to work on the financial side and the marketing side.
I get up every day and get to work by 7:45 or 8. I take my dog for 45 minutes and we walk the orchards and vineyards. It’s so beautiful. I might see a four-wheeler or a tractor but there won’t be any people or cars.
I love the people I work with, the people I deal with, it’s especially about managing relationships. Life, when you throw in wine, is so much more fun. Everywhere I go I take wine and make new friends; not always but most times.
Mackncheeze: How do you draw the line between science and Alchemy?
Tom: Humans are 90% sensory-based. As winemakers, if it doesn’t smell good or taste good, people are not going to want to drink it. I just don’t pay attention to what numbers say. I have never been a proponent of scores.
I tasted wines the other day and I said to myself, it’s just not a good day to be tasting. It’s like playing music, sometimes your guitar sounds out of tune when it’s not.
Mackncheeze: Back to the science thing: What part of your career did you embrace the science of making wine?
Tom: The whole time. At this point I don’t use as much science. I’ve dialed it down to – what is it do we need to know.
Before we make a picking decision, as far as longevity of the wine goes, we are looking at the balances of our sugars and PH s. It changes every year. That’s pretty much what we look at before we pick grapes. After we pick grapes, we use chemical analysis to see if we need to make any changes. We test, we cross-flow everything, test before and after filtering. We have gotten away from using commercial yeast. We will let things ferment on their own.
We call our wines uninoculated, that’s the fairest way to state it. Most natural yeast cannot finish a fermentation of wine that is over 22 brix, the alcohol will be too high. Most natural yeast cannot handle that much alcohol.
We use an outside source for testing. We run tests at the beginning and end of fermentation. It’s nuts, every year the results come back differently. Two years ago our Merlot fermented dry with a white wine yeast. Last year we had a wine that fermented dry with a yeast we have never used before, it had never even been in the winery.
Tom : That’s technology and the applications we use.
When it comes down to picking decisions, walking in vineyards, I know what the numbers are. We’re just walking through and asking ourselves, how does the fruit taste? What are the chemical constituents of the skins and seeds? That’s the art part of what we do.
Mackncheeze: Hypothetical question: You’re a Roman winemaker two thousand years ago, with your vineyards, how would you approach wine making?
Tom: I’d have to see what kind of equipment they had. I think criterion would be the same: Does it smell good? Does it taste good? I guess I wouldn’t be worried so much about cost.
Mackncheze: You understand the history of what you’re doing. Tom: Where did Syrah come from? Mackncheeze: It would have been Persia? Tom: Legend has it the Phoenicians brought Syrah to Europe from around present day Syria.
Mackncheeze: As an entrepreneur, as an artist winemaker, what is it you would like to say?
Tom: The main thing is, I wish people were more aware of what was the last wine that they were drinking. I think about it all the time, I really do. I want wines that I make to taste like the person who made them loves their job. I see so many people in this industry, to them, it’s just a business. I want people to understand that there’s a difference between my $25 of Cabernet and my competitors $20 bottle of cab; there’s a huge difference. We truly care about what we do. We take every step to make sure that the wines are true to what they are. A customer will know where our wines are from and know how they’re produced. I saw an ad for the sale of 75,000 gallons of Cabernet. No consumer is going to know its source. That’s wine manufacturing.
Mackncheeze: Lot of that going on.
Tom: I want people to know we make our own wine. Only three people touch it. What we do is our testimony. We Care.
Mackncheeze: This has been great.
Tom: Yeah, this has been fun. I always tell people I like answering questions because it helps me to remember what I know.
This interview involved sharing a bottle of 1998 St. Innocent PinotNoir from Oregon’s Willamette Valley.
Mackncheeze: Tell me about the kids and playing music?
Tom: They both grew up playing instruments. My son played trumpet for a year and didn’t really like it. My daughter, Amelia, played Cello. She had her great-grandmother’s Cello. She played cello for a couple of years and is pretty good.
A couple of years ago I thought, I’m going to buy Winston drums. I bought him a drum set for graduation; he loved them.
It was really strange because my buddy Jared, I was out to dinner with him one night, and he asked me, do you know anyone who wants to buy a bass? I said I would. Two hundred bucks and a case of wine later, I got a bass.
I already had a Stratocaster and acoustic guitar. So we have electric guitar, bass and drums. Winston and I would start playing a little, and my daughter started playing bass. It’s one of the most awesome things in the world to come home after work and have my children be there. I walk into the basement and I say, oh my God, I love my children. They love it.
I bought Amelia her own bass. I didn’t know what to get her for her 18th birthday, I just didn’t know. I was perplexed; I was in Spokane and I went to the guitar store, and said, “Hey, I’m getting her a bass.”
I figured she would like a black one, it would be cool for her. When I gave it to her it was the best thing in the world. She was so happy and so excited. I gave her a bass amp. She can practice at home and also play at my house. It’s one of my favorite things in the whole world. I love it
Mackncheeze: For you, what sparked your interest in playing music?
Tom: I started playing piano when I was in second grade. I really didn’t like it but at the same time I liked it. In sixth grade I started playing trumpet. I liked trumpet a lot but then my music teacher quit. Then I did shop and pottery.
My former music teacher came back and he asked me why I quit band. I said, “Because you left and I didn’t like the other guy.” He asked, “Will you come back? I don’t need a trumpet player but I do need a baritone player.” I said okay and I went back to band class.
When I went to high school I didn’t see any baritone players in jazz band. So the band instructor told me he would buy me a valve trombone. In my freshman year of high school I played valve trombone. The next year he told me I needed to play regular trombone. So my sophomore year I played regular trombone and my junior year he bought a bass trombone. By my senior year I said, I’m just going to smoke weed and play Hacky Sack.
Mackncheeze: ( Gut Laugh ) How did you become intrigued with wine?
Tom: I got married in 1995 and moved to Walla Walla seven days later, no job. I started working at the Walla Walla Country Club. Mornings I mowed Greens, afternoons worked the pro shop (this is pre children) and I worked the clubhouse at night. Finally the golf pro asked me to work full time. I passed my players test and entered the PGA as a Club Professional.
Tom: And then he got fired. I said to myself, I don’t want to work for anyone else and I don’t want to do this anymore. So I got a job as a commercial loan officer at Banner Bank. In that time I met Eric Dunham. He was living on the top floor of L’Ecole 41. It was a small world thing because I gave Marty and Megan Clubb and their daughter golf lessons. I also gave Megan’s parents golf lessons, so I knew them all. When I was in between jobs, Eric called up and asked me if I could help out at L’Ecole. Eric was beginning to open Dunham Cellars.
When I worked at the Country Club, part of my job was to act as the host part of the winemakers golf tournament. There were only eight wineries at that time. I started at L’Ecole in 1998. Rick Small, Chris Doucet and John Abbott would come out and play golf. Jean Francois played as well, so this got pretty big.
I was helping out at L’Ecole and Marty asked if I knew anyone who would want to work there and I said I would.
I hooked up with Mike Corliss. We started talking and he said if I ever wanted to do a winery let him know. That was a great opportunity . That was in 2001 that I started with Mike. In the process of ordering fruit, I contacted Tom Waliser, he has a vineyard in the Rocks. Andrew Will had to back out of a fruit purchase, so I called Tom and he said, “Come down and pick up some fruit.” He then asked if I would be interested working for him making wine.
For two full harvests I was making wine for both Tom Walesir and Mike Corliss. There wasn’t a production facility for either winery. The first vintage of Corliss and Beresan were made at L’Ecole 41, which was great because I was helping Marty out and simultaneously making my own wine. We did that in 2001 and 2002. In 2003 I left Corliss and started with Ash Hollow; that was a short-lived brand.
Mackncheeze: I’ve never even heard of it
Tom: I got to manage 50 acres of vineyards so that was good. I learned a lot about growing grapes and vineyard management.
Mackncheeze: So you just fell into this?
Tom: Yeah the whole thing. When I worked at L’Ecole they sent me to school at UC Davis. When I first got there I had no idea what they were talking about. When I went back the next year it kind of made sense. Year three, I got it; between schooling and practical application is what set it straight.
Mackncheeze : So you have no degree? Practical experience is the whole thing?
Tom: Yep, at that time, most people in Walla Walla learned how to make wine by making wine.
I was at Ash Hollow in 2003 to 2004. In 2004 my dad passed and I said to myself, I’ve got to do my own thing. I was tired of working for other people. So I quit and found an investor who helped me start my winery. I was just about ready to pull the trigger on that deal and my buddy Mike Sharon, who was the winemaker at L’Ecole 41 said, “Why don’t I help you out.”
In 2005 we started Balboa Winery with $40,000.
Mackncheeze: Really, that’s nothing.
Tom: Tom Waliser helped a lot. He created space for me so that I could vinify wine. We were the first people to use screw caps in Walla Walla.
Mackncheeze: Really? I haven’t seen any of your wines with screw caps.
Tom: I have four wines with screw caps.
I like the concept. I think it’s a much better capsule. The wines age fine. That’s the big thing, before it goes in the bottle, you have to make wine correctly.
Mackncheeze: That’s what you’re all about, making wine correctly.
Tom: Two and a half years ago we merged Beresan Wines and Balboa Wines.
I was thinking about this earlier. I love my job now more than I ever. I get to hang out with really great folks. I love playing golf, I love playing guitar, I love making wine, these are things which will never be perfect. I can always try to be better.
This is my 22nd year of wine making. I love walking through Vineyards and tasting grapes and running the numbers. I love the group of people who go through a harvest together, it’s seven days a week, 12 hour days, you become extremely close with that group of people. Some of my closest friends are people I have worked with during harvest.
I could go on for days.
The whole relationship between sunshine and dirt and plants and temperature, I mean, it’s different every single year. You have to be able to adapt. You can’t make wine the same way every year. That’s what I love about wine, we are always trying to capture wine at its peak regardless of vintage. Last year was tricky. It was a cooler; the fruit was ripe but sugar levels were low. Physically, the grapes were ready to go, so we picked. A lot of wineries did not.
Mackncheeze: The wine was more complex?
Tom: Yeah it was. I like cooler vintages. The 2011 vintage wines are still great. They will be great longer than the wines from 2015. I would never say one vintage is necessarily better than the rest, it’s always a reflection of what that year was. That’s why we make wine the way we do. Our wines reflect vintage; this is what we were given.
Scores are very challenging. How are you supposed to score wine if you haven’t been part of the process? You weren’t there, how do you know? You don’t know the soils, you don’t know the harvest, you don’t know the vineyards. There could have been six 100-point wines in that release because that’s the best you could have done with both grapes and vintage. It’s extremely difficult to judge a great wine unless you know how it was made.
You want to talk about the art side of what I do? It truly is an art; I mean, we’ve decided to use as few of commercial products as possible. That decision we made because we feel our wine is more like a wine should be. A lot of wine making is just a job; some winemakers make a wine because its profile is predetermined.
As a young winemaker, I was geared towards younger wines, but now I think it’s much more fun to drink older wines. I have wines I made in 98 and 99, it’s so fun to try them.
Mackncheeze: How you feeling about them?
My office is in a wine library. In that room I’m surrounded by every bottle of wine I’ve made for Beresan. I remember the sense of all the work, this is where I was, this is what went on that year. It’s great, I love it.
Marco: ( Laughs ) Somebody crazy ( More Laughter ).
Why was Jesus a carpenter? When God had the ark of the covenant built, He made it from wood, covered with gold. I believe wood represents mankind and gold represents God’s purity covering mankind.
Why did He do that; wood covered with gold? Jesus was a carpenter. He is the gold that covers us.
I tell people, misery is a good teacher; you learn things you can’t imagine.
I come from a very rural part of Brazil. There wasn’t a lot of money. I started to make instruments because I was playing in my church.
Mackncheeze: How old were you when you started?
Marco: Fourteen. I started to play guitar. The church I played at had one really bad bass . I would take it home and bring it back before service. I tried to buy a bass with credit but didn’t have enough income. I decided I wanted to make my own.
I could not afford the instrument so out of necessity I started building basses. At that time all the good instruments were coming from other countries. Good instruments were the equivalent of buying a decent car. I had no tools, it was crazy, but I had a drill. I drew out the body on a piece of wood and then drilled out the body like a stamp. I would use a file to file out the shape.
I said to myself, “If Fender can build a bass, why not me? I’m a man just like he is? Why not?” My friends told me I was crazy, “You’re never going to make a bass better than Fender.”
So I started building one; I had no information. At that time there was no internet. I tried to figure it out.
The first basic idea is to have a truss rod. Because I had no information I had to figure out how to do things.
As a musician, if you don’t have information about music in the world, you still have the heart of a musician. You create your own music, you develop your own style.
By the time I was able to collect information on how others were doing it I had established my own style.
Hendrix played left handed on a right handed guitar. He had his own style. He had the drive to be a player; he had to figure out how to do it. A player can play exactly like another.
I used to make my pickups in Brazil. I did not have good materials. I had to push myself to make something good. I had a lot of wood but no magnets or wire.
I had to work with materials that were inferior in quality, coming up with results that worked, finding my own way to do it. By the time I moved to the USA I had established my techniques and now had materials available. With quality materials I could apply my own style.
In Brazil, I did not have tools. I had to learn to make my own tools; everything form scratch, even down to paints and lacquers.
Mackncheeze: You made your own lacquers? My Lord!
I started living in West Seattle. I could not find a job because my English wasn’t good.
Mackncheeze: How is you’re Portuguese? You’re Portuguese Good?
Marco: So, so ( Laughs ).
I ended up working construction. Very heavy outdoor work. One day one of my co-workers asked why I was so happy.
Let me explain: in Brazil work is much harder, much heavier. Here, work is much lighter. Misery is a good teacher.
Bass is a weird instrument. Bass is an instrument working with other voices in music. Look at music as a graphic. You have the four voices of basic theory. The primary job of the bass is to play the root. In a trio bass has much more freedom, but in a four piece, you have to content yourself not to overplay.
Music is about the moment.
Mackncheeze: What is it that drives you?
Marco: Being a Luthier; it’s a little crazy. For an example: you’re a drummer, what motivates you? You spend an hour after a show tearing down gear, there’s no money in that, but it’s the passion and love, that’s why you do it. Its not logical.
Building an instrument is the same because it is difficult business wise. I’m not going get rich off of this.
Working with the musicians I do, some of the ones I endorse, this is very good. Whats good is because they are real players. They are in love with what they do.
As a successful musician, to make money, generally you have to play music that other people like. It’s the same for me. First I made instruments for me. That’s where I started. Now I make instruments for others and end up tweaking the process as I go along.
Mackncheeze: What are some of your struggles?
Marco: Being a luthier is hard because being a luthier is not very different from being a musician. It’s how I divide what I’m doing for myself and what I’m doing for my clients. Basically it becomes what people can pay me. I have to down grade some guitars in order to make them approachable. The instruments I make for myself are too good.
Playing music is very complex and most people do not understand what a musician does. That’s one thing I tell my customers; they don’t understand what I do. We sell ourselves, our time, our skins, to do our job. That’s part of life. It’s part of the struggle between art and the real world. I make instruments for what people are asking for.
But every bass I make is for me. It’s hard to find the balance. That’s the difficult thing, because I want to do more.
Part of the challenge is that most amps on the market are made to work with Fenders. That’s part of the standard. I had to downgrade the quality of my pickups to adapt to the Fender standard. I can’t be too creative. But still, this is fun.
Mackncheeze: What has been the most exciting thing in your life?
Marco: Watching good musicians who play my instruments, who enjoy my work. It’s like enjoying cooking, making food for someone, food that they enjoy. They understand why you did it. It’s like serving the best wine in the world.
I kept getting better and better and better. I probably had built about fifty basses before I got it. At that point, I figured it was something I could do. People started to ask, “Could you make one for me?”
The instruments are a very complex. People have no idea because they think it is normal wood working. The basses are almost alive. Every bass is different. The one thing is-they basically communicate with the musician, the sound of the instrument, musicians feel the instrument, they kind of interface while playing. They just play different.
Mackncheeze: What are your sources of wood?
Marco: I try to be as local as possible. I have tried hundreds of different woods; woods from Brazil. Musicians are very traditional. Most guitars are expected to be made from ash or alder. I use a lot of alder. I don’t like to use ash a lot.
Leo Fender is a genius because he found a way to make a good guitar a less expensive way, what Henry Ford was to cars. Fender made a production line. He chose ash because it was easy to work.
Sometimes I use pine. For fretless basses pine sounds good. I haven’t yet made a fretted bass with pine. Pine is pretty knotty so we have a lot of waste. But it sounds good.
I have used Douglas fir and it works well. One of my favorite woods is cedar. It sounds really good.
When I moved to the United States I started working construction. I had no money but making instruments was still my hobby. I had some extra Douglas fir beams and I cut those and made some guitars. They sounded amazing.
People buy things with their eyes.
I judge a piece of wood by its feel. Musicians taste the instrument like people taste food. People don’t understand why we are so absolutely in to that because that can’t feel what we feel. We taste the sound with our ears and with our hands we feel the touch of the instrument. There is dimensionality to it.
It’s hard for me to understand a luthier who doesn’t play. I ask people, would you ask a blind guy to paint your house?
Mackncheeze: What do you want to tell people?
Marco: It’s about our relationships. Every customer becomes a friend. I make instruments but I collect friends.
Mackncheeze: This has been great. Thank you, Marco.
I remember when I dumped a cup of coffee over a hard drive recorder, AAARG! Thank God it was creamless. One week under a blow dryer cured that potential disaster. Hats off to the manufacturer for apparent musician proof design.
When on stage as a warm up band for national and international acts, my stomach would come up my throat. Problem is, it’s not fair to be comparing yourself with someone else’s success, misunderstanding the travails they are going through.
Lets not talk about relationships. Enough said.
I have spent decades failing in many endeavors. If failure is the building block of character, I should now be incredible and unshakable.
When I first started contributing to the Mackncheeze Music Blog, I thought I’d just give a few stories from the front lines of Seattle’s early 90’s heyday, or give a personal story of how music has affected my life. What I didn’t expect was that our lives would be turned upside-down in a matter of weeks, nor witness a health and economic disaster, a scale not seen in my lifetime of nearly 52 years.
While the health of ourselves, family and those around us should be first priority, we are losing much more. Because of our Governor’s mandated shut down orders, unemployment has risen sharply due to so many businesses being affected, either directly, or indirectly. For weeks to come, performances of live music, plays, musicals, ballet, art galleries, movie theaters and much more, have been cancelled.
Art and music obviously are considered “non-essential.” I’m not going to sit here and try to argue the point when people are dying by the thousands. We all need to do our part to stop the spread of this virus. However, we must remember, for our souls, art IS essential.
Many years ago, in the late 1980’s, I was working full time and going to school at night. On weekdays, I didn’t get home until 10 p.m. and was back to work mornings before 8 a.m. There was a show coming and I was a fan of this new band – Jane’s Addiction. On a week night, it was going to have Soundgarden and Mother Love Bone opening. I seriously thought about going, but decided I would just be too tired; I’d catch them next time around. You can probably guess…something like that didn’t come around again. Soundgarden went on to superstardom, Jane’s Addiction got huge and started Lollapalooza, Andrew Wood passed away and in the ashes of Mother Love Bone rose a little band you may have heard of…Pearl Jam.
Likewise, about a year or so later, a good friend had an extra weeknight ticket to see Stevie Ray Vaughn. My excuse was the same…work, school, tired, catch him next time. Three months later, Stevie died in a helicopter crash.
I decided my new mantra was going to be – “If I want to see a show, I’m going to – no excuses.” From that point on, I decided that music was too important to take for granted. It’s important to me; it is important, period!
When we come out the other side of this crisis, when clubs open up again, theaters raise curtains, touring bands start up buses and art galleries start letting you in, remember what its been like for the last month. Think on of what we’ve been missing out. Don’t take it for granted because you never know what the future holds. You could be about to witness something that happens once-in-a-lifetime, or the artist may not be around “next time” – so make your choice (only you know what is important to you). Make it with a new awareness for how fleeting our opportunities truly are. Tell the people you love, you love them. Pet your dog.
Stay safe out there and maybe I’ll see you at a show soon…when again we can share the experience together. Thanks for reading!
I’m astounded at what a comfort zone drama can be. Personally, I try to minimize conditions which allow for its growth.
Politics, avoid politics. Some folks crave ongoing bad news and having vitriol for public figures. Yes, it is deserved, but there are more interesting subjects that get my panties tied into a knot. I have no presence of mind for stupid words coming from mouths of politicos who never deserved my energy or attention.
Media is also prone to drama. From both left and right, there is constant complaining about how bad things are. I choose not ingest their “news” or commentary.
Ongoing bitching seems to abound in profusion. “So and so did this”, or, “What’s His Name is such a creep,” over and over again. For God’s sake, get away from those people; stop thinking about them.
What are the motives behind this behavior?
Why have that sort of association?
I haven’t resources for ongoing bad attitudes. My clock is ticking fast; ongoing theater is not a luxury.
A question: is First World whining a fear of unfamiliar territory and not having a willingness to escape it?
John Passerelli Has Been Local Force In The Seattle Area For Decades
Mackncheeze: My first question-who are you?
John: I have some cute answers. I consider myself to be, how do I put this, a positively charged rhythmic and melodic confluence of heart and mind. That’s my musical self, which is most of it. It’s what I have been doing my whole life. There isn’t much else except motorcycles and dogs and women and alcohol.
I’m very simple, I don’t need a lot to get by.
The last couple of years I’ve been living a bachelors life. Myself and two other room mates, musicians; they’re both bass players.
Mackncheeze: Wow, two bass players in one house.
John: I know, as long as I get the girls.
Mackncheeze: I’m glad that’s working for you. What kind of dreams or aspirations are you focused on?
John: When I was young I had very big dreams. Especially with music. When you’re good at it, and you’re in a decent band, people take notice. You would like to think you could take it to the next level. I know a lot of people who aspired to that and never achieved it and a lot of them just don’t play any longer. I could never do that.
My aspiration is not necessarily success oriented but to keep enjoying music. It pacifies me when I’m angry or down. Music, you know, is more than something to just listen to. I stick with music and I just want to keep doing it as long as I can and to keep playing with people I like; having fun, not taking it too seriously.
I’m primarily a stage performer. I’ve got a couple of albums under my belt with other bands, but my home is on stage. I feel a little less comfortable with studio work. The problem with studios is the pressure of time constraints.
As long as I can connect with people at a venue, if somebody appreciates what I’m doing, when I play I can see it in their faces. After a show, when they come to talk to me, that is some of the best payment I can get. I’m done with trying to get money from it even though I earn more now than I ever have. It keeps me from working too hard at a day job.
Its a good plan; I have always wanted to be part time employed and part time music. Life isn’t worth working yourself to the bone unless it makes you happy.
Mackncheeze: You were at the top of the Seattle Grunge scene?
John: Yeah, we were called Paisley Sin. We weren’t Grunge enough. We were a little more pop oriented, we could play different styles in one show. There were a lot of bands that made it, per se, that were more one dimensional.
We had our moment. We went down to L.A. a couple of times and met some lawyers at Capitol Records. It didn’t work out; they signed Blind Melon instead. Look it where that got ’em. Their lead singer, Shannon Hoon, overdosed on a tour bus. Everyone from Paisley Sin is still alive.
Mackncheeze: There’s a lot to be said for that.
John: Paisley Sin’s lead singer Gerry Smith and I have worked together for thirty years. I’m working with him in Sweet Emotion.
Mackncheeze: Our friend, Eric Ritts, just did NAMM as an exhibitor for Marco Bass Guitars. You’ve been to NAMM?
John: Eric’s great, I went to high school with Eric.
Yeah, it was a work thing, it was still a lot of fun. I was with THD Electronics. Andy Marshall, he’s a friend of mine, I’ve known him 30 years; I was one of his first clients.
NAMM was a lot of work. We brought our own isolation booth; they won’t let you play very loud without one. If people wanted to test one of our amps, we had a room for them. It was pretty cool; it had its own air conditioner and everything.
We shared a booth with O’Donnell Custom Guitars from Australia. Craig is a great guy. He didn’t give me a guitar, though.
Mackncheeze: You digging that Marco Telecaster?
John: I love that thing, man. There’s something I want to say about Marco Guitars. The reason I like that Telecaster so much is because there is a connection between the player and the instrument; there has to be. If it’s natural right off the bat you are ahead of the game. You’re going to be inspired by not fighting it. When I picked up that guitar, it fit me, I knew I was going to enjoy it for a long time. That’s the greatest thing. Those axes are something special and they should make more.
John: Sweet Emotion. We’re an Aerosmith Tribute Band. We had all kinds of shows booked from March on out.
A side project I have going on is called ZZ/DC. Its pretty self explanatory. We’re not doing stylistic interpretations like Hayseed Dixie; a little bit of ZZ Top and a little bit of AC/DC.
There was Guilty Pleasure; we worked hard on that band. We had two female singers and a different collection of songs; a lot of stuff I had never heard. I learned all this stuff I had never played before and it was fun.
Mackncheeze: What have been some of your biggest struggles?
John: Wow, yeah, interpersonal band member things. A band is like a relationship with four other girl friends, or what ever. I have learned not to carry grudges. Its too easy and humans are really good at it. People leave the band to start their own thing and its like, “Wait a minute, we had a good thing.” I can’t hold it against them.
Mackncheeze: Not holding a grudge is super important.
John: It takes a while to learn. Some people never learn it.
Mackncheeze: What is it that you personally want people to know?
John: That’s a rough one, man, because I really do this for myself. I just want people to know that I will do it if they will appreciate it. That’s my reason for doing it, someone getting off on it.
You got to take the negative criticism as well.
Mackncheeze: Whats your musical education?
John: I started playing trumpet in third grade. I played trumpet for eight years ending up on the Garfield High School Jazz Ensemble. We took first place in Reno two years in a row. There was a transition, there at the end, where I started playing guitar, and I let go of trumpet.
Mackncheeze: By the time you reached high school you probably had put in your first ten thousand hours?
John: Yeah. When I was 8, 9, 10 ,11, 12 and 13, I was playing in concert bands and symphony. Jazz band made it clear it would be a lot more fun. The band director told me I was one of the best sight readers he had ever seen.
When I picked up guitar, all my reading skills were put aside. I became completely ear trained.
I was sucked in by Rock n Roll: Robin Trower, Jimi Hendrix, AC/DC, Rush; anything with good guitar work. I started out playing covers before moving to originals.
At first I absorbed a lot of really good styles and all that has coalesced in to a style of my own.
After High School, I briefly went to college. Pre Engineering, at Western and the University of Washington. I just wasn’t that into it. That didn’t work out, so I took some time off, and then I went to Shoreline and studied music for two years. It was fun, but I was already ahead of most people. I was a working professionally, having recorded in big time studios, had done some studio engineering. I was like the Golden boy. I knew my shit. But what I really came away with was two years of theory. I already knew what it was, I used it all the time, I could recognize all these things I was already doing.
I’m always looking to break the rules. These days I don’t take theory too seriously. I’m not very modal. I’m a Blues Guy. If it sounds good I’ll make it work.
Mackncheeze: You sing very well; did you have vocal training?
John: Nope. In fact, I played guitar for fifteen years before I started singing. It started coming easier, because I was working on original music. I didn’t have to be some one else. I’ve been working with Gerry and we are connected well. I know his nuances.
I think there is much more magic in original music, whether or not a person is a very good song writer, its something to believe in and to be more attached. The magic is when you can get four people to make a song happen on the fly. It’s inspirational. That one idea makes me do something , then the bass player joins in, then drums, pretty soon you have written a pretty cool song with out even trying. That is the magic.
Sometimes the process is not collaborative. Sometimes someone brings in a great idea and wants to try it and we do it.
The other part of magic is the spontaneous combustion. Everybody should want to do both; bring in an idea to bounce it off one another or to go off in the moment. That’s the fun; that’s when you’ve found the right people. It’s whether or not they are your friends.
I’ve gone back to just playing with my friends.
We are going to release our music, we’re just going to give it away, it doesn’t matter, we’ll put it out there and hopefully somebody likes it, ’cause that’s what its about. You’re playing music to connect; there are far too many people that play great music and nobody hears it.
Mackncheeze: Do you consider yourself a prolific song writer?
John: I haven’t written a lot of lyrics in my life, but yes, as for music, I have unused ideas from years back. There is stuff floating around that I want to do something with. Then there’s the fact that I can just noodle something into existence.
Used to be I would get my best ideas from just watching TV. You’re just so disconnected.
Mackncheeze: You’re subconscious just zeros in….
John: You’re not contrived, hardly paying attention to what you’re doing. But then you have to go, oh, wait a minute, that was cool. Then you repeat it and hold on to it and keep it. I have lost so many of those things in my life by not remembering them, not recording them.
There are some that are still there, that are awesome, and all I can say is, one of these days.
Mackncheeze: What’s another part of the song writing process?
John: I trust my ear and the theory I learned in college. Things I listen to, things that influence me. Sometimes things that are new enter me. I would never change my style but new ideas infiltrate my writing process. It’s an intuitiveness that I have.
I really just go with the flow. Some days I write, some days not; some days I feel inspired, some days not. Though I never quit. Some of my best recorded work has been in inspirational, improvised solos.
Mackncheeze: What are some of the most influential shows you have ever seen?
John: Getting back to that Blues thing, in my youth, I was really in to Southern Rock. Back in the old days I saw ZZ Top, The Outlaws, Molly Hatchet, 38 Special, The Allman Brothers; I cut my teeth on that. It was fun; there was a lot of guitar work . Sometimes there were three guitars, a lot of bands with two drummers.
Mackncheeze: What would you like to say?
I want to write a book someday. It’s going to be called, Why Am I Still Here?
Mackncheeze: John, this has been a great interview, man. This was really a lot of fun. Thank you.
It might seem odd that I would do a book review on a subject that we all are familiar with. I couldn’t resist. Shopping at the local bookstore, title screaming at me, I had to pick it up.
Turns out Harry G Frankfurt is a Professor of Philosophy at Princeton University. His resume is filled with a Who’s Who list of schools including Rockefeller University and Yale. I had no idea this fellow was such a heavy weight. Imagine my surprise when I discovered On Bullshit had been a best seller and Professor Frankfurt had appeared on Jon Stewart’s The Daily Show. I thought it was just going to be a cheeky expose on a fairly common subject.
On first examination, there are 67 very small pages. Having no understanding of the author, my first impression was that this was light weight material. I flipped through some pages just to get a feel for it’s subject matter and found my self chuckling, then laughing uproariously.
Quotations from St. Augustine, Max Black and Ludwig Wittenstein are interesting. Evidently, B.S. has been a foundation of culture through the ages.
That, my friends, is known as an “Aha” moment.
On page 57, a great observation is made: “The bullshitter is neither on the side of the true nor on the side of the false………..( continuing )………..He does not care whether the things he says describe reality correctly. He just picks them out, or makes them up, to suit his purpose.” That perfectly describes some relatives as well as musicians I’ve worked with. Well said Frank.
The last page is best, of which I will not reveal, but maybe we do all of us share complicity On Bullshit.
My first real understanding of digital recording actually occurred when I purchased a Roland VS 1680.
I didn’t understand crap; having spent weeks in front of my old PC, scratching my head, staring at a Cakewalk Software program I had down loaded from CD-Rom. I would execute commands and sigh in disbelief as nothing would happen. I could not wrap my head around the technology.
I broke down and visited my good and trusted friends at Seattle’s American Music.
I explained my challenges and it was suggested to me to purchase a hard drive recorder; not necessarily for ease of use, but for it’s functionality. I was warned there would be a lot of squinting involved, but with persistence would come the reward of fathoming the recording process. No truer words spoken.
I applied myself and made innumerable horrible to mediocre tracks. Thank God for my mentors, who had had decades of recording experience. I asked questions, asked them to review and critique my work, took all their suggestions to heart. After a year and a half of of diligence, eating a lot of humble pie, I started to grasp concepts and applications needed to create some decent work.
Then on to Protools. Utilizing all the previous months education, with some help from tech support, I was up and running, relatively fluent in six weeks.
I held on to that VS 1680 for many, many years. It never failed, drove like a Mack Truck, and took huge abuse. It traveled well, recorded many rehearsals and did live shows, with amazing results. It is one piece of equipment I look back on with nostalgia.
“Hey Bro’, I’ve got these tracks laid down. The song is finished, just need to pull it all together and do post-production. Can you help me?”
I cough up the usual excuses; not interested in working on someone else’s recording, not enough time for myself, too many irons in the fire…
“It’s all done, shouldn’t take much time at all.”
Alright, send me the tracks. I’ll take a listen. God, I cave easily.
The Master mix is dull, lifeless, spread with too much reverb. The individual performance tracks are clean and well recorded, others are ponged with multiple instruments. Then there are the vocals; good performance but super thin.
I’m hanging here with kind of a mess.
Recut vocals with a Neumann, using an UA LA 610 as pre amp, layering the vocals with two delays way back and a little plate verb.
Separate the ponged tracks to individual tracks; assigned a bass amp plug-in to the bass, compress and limit the track, squeezed tight and centered; EQ and compress guitar tracks; EQ keyboard tracks; Listen to each track individually, searching for audio artifacts, and, of course, finding a bunch of stuff that needed to be eliminated; assign sub mixes to everything, panning in place…
Drums, crap…great performance, but sub standard punch. Three great rim shot snares in the whole track. I created a sample of one the rim shots, cut and paste it across the mix. I replaced the kick track with my own sample cut with a vintage Bellari tube pre. Sub mixed the drums with SMACK, my favorite compressor plug-in, and light plate reverb.
Remix, remix, remix…weeks later, ready for mastering, and then we’re done.
Some days I find it hard to be inspired. When I reach a point of nothing, which can be alcohol induced, I usually plop down in front of the TV and enter a state of, “Since it’s TV time I should be eating.”
This condition usually shows up about midnight.
My basic understanding of Circadian Rhythm is quite limited. But the part I get the most is when mindlessness enters in to my brain. Which, frankly, is about midnight. If I’ve played a gig, mindlessness occurs about three in the morning.
For some reason, we humans are hard wired to be our most vacuous around bed time. Maybe its a precursor to sleepy time; maybe its precursor to sex, of which, these days, I have very little knowledge.
Mindlessness plus TV? Oh God, could I please sit here forever?
Karl Marx once said, “Religion is the sigh of the oppressed creature, the heart of the heartless world, and the soul of soulless conditions. It is the opium of the people.”
As a drummer, my most important function is to keep time. In the 80’s I learned how to play live with sequences, time delay, arpeggiators and click tracks.
In another band, we were recording an album, with out click, and I could not get past the fourth song. I was second guessing every beat and drum stroke and psyched myself into failure. Red Light Fever, I call it; a fear of failure so intense that I was paralyzed. A Ringer had to be hired to play my parts. To overcome Red Light Fever, I began investing in recording equipment.
I needed to learn to hear incorrect intonation. At the outset, I assumed people who performed often knew what they were doing. Years of performing does not preclude correct technique. Bad habits can be reinforced by constant repetition. Thank God for auto tune, Melodyne, or what ever piece of software we might use to overcome incorrect performances.
Questioning the inaccuracies of my playing through years of lessons and association with better players.
Reading wave files of recording sessions and discovering my kick drum leads the rest of my limbs by 6 to 10 milliseconds. Still working on this one.
Learning to hear audio artifacts whether from editing or from recording performances. People stomp feet, click their tongues and teeth, leave strings open when they shouldn’t, grunt and create all sorts noise while they record. Some of it so subtle that it won’t be heard until Mastering.
Be it as it may, just a short, non complete list of things I needed to address to achieve competency.
There’s your family, there’s your job. In your life, where is the Third place you derive your sense of community?
It used to be church, or civic clubs, some sort of lodge, maybe the library. Nowadays, Starbucks has laid claim to being a place of gathering. All I see there are people with coffee and laptop, getting some work done; social interaction is minimal.
Social media may have some claim, but I see it as being a superficial outlet. I do not consider the internet as a sane or rational forum for discussion. For me, community is derived from face to face interaction and shared interest.
For those who are musically minded, may I suggest various jam sessions and song writing groups provide A Third Place. In my own experience, I have seen close friendships develop within those “communities”. In this age of Tweets and Instagram, I believe this is super healthy association.
Aren’t most of our successes realized with the help of others?
Mackncheeze: What inspired you to become an audio engineer?
Steve: I love listening to music, that’s what got it started. When I was going to Central I didn’t have a lot of money, I always had to work, going home on weekends to teach lessons. I also had bands; to have a band you need a P.A. I had worked at Hanford, I saved my money, and so I bought a P.A.
My mom would freak out because I was always bringing home some piece of new gear……
Mackncheeze: Oh, it started early?
Steve: Very early. My mom would tell me that I could not afford another piece of gear. My response was, “It’s worth it. It’s going to help me.” She didn’t believe it. She wanted me to have a job with a health insurer.
It got to the point where I bought a bigger Yamaha Mixing Console and put it right in the middle of the family room. “Here Mom, look what I got.”
We also needed transport so I bought a van.
Mackncheeze: This is sounding familiar.
Steve: We needed a place to rehearse so I would get the house with a basement. We would have to have a demo.
Mackncheeze: How many band houses were you in?
Steve: 4 or 5, 6 or 10, I don’t know.
I bought a stereo tape deck, we would set up in the rehearsal space and then I would try to record. I had two mics, trying constantly to get the demos to sound like an album; constantly experimenting with placement. Then I bought a four track and the possibilities blew my mind. I just got hooked.
I graduated to an 8 track cassette recorder, a Tascam 688. That thing was killer; ended up recording a demo of Kristy’s and my band, Billy Moon. My former student, Bill Rieflin, drummer for R.E.M., heard a copy of that session and he thought it sounded really good. I ended up using that demo for a Disc Makers unsigned band contest. Out of 508 bands in five states we scored the highest, made it to the finals.
I love recording, love learning from it.
Mackncheeze: When did you buy your first outboard processor?
Steve: That was in 1996.
Mackncheeze: That’s 20 years of recording before you bought a compressor.
Steve: With the recording contract we had after the Disc Makers contest, I picked up 2 ADATs, and two Empirical Labs Distressors, we recorded tracks off my 16 channel Studio Master Console. The record label brought in Don Gilmore to mix the single at Stepping Stone studios, on an SSL 4000 G Plus. He spent ten and a half hours remixing our single. On play back I asked him a lot of questions, then we put up the original track and everyone was blown out. Don thought there was no reason to remix the tune.
We took that original track and remixed it in our studio, using my recently acquired knowledge from Don, two days later presenting it to our A and R person. I said to him, ” If I had a few choice pieces of gear I would be really good at this.” He told me to make a list and they would tack it on to the producers advance. That financed a lot of the really good gear I own. The mics, pre-amps and what not, including a Crane Song STC8. A lot of that gear is now on loan to Robert Lang Studios.
I am so blessed. I have put together another studio here at the Drum School. I get to record my wife, Kristy, who is an amazing singer/song writer, my band The 350’s, which are unreal, Danny Godinez and the stuff we have worked up with him. So blessed to be able to work with this caliber of people.
Mackncheeze: With all that background, how did you come up with your Physics Analogies applied to your teaching methods?
Steve: It’s more of an intuitive understanding that I represent through music and rhythm. Frequencies and vibrations; everything is vibrating. There are no real particles; there are only particles when they are observed. Everything comes from waves and waves are basically constant frequencies.
In terms of music, you make rhythms that intersect with each other and create patterns. Like a 3/4 measure against a 4/4 measure. What is interpreted as a particle isn’t actually a particle until it is measured. You can measure 2 against 3, or 3 against 4, and those patterns become drum parts. They both come from the intersection of points. The concept is metaphoric, its poetry.
I read stuff about quantum physics, which I will reread 30 times. I’ll sit down to practice and I consider how form and matter relate to music. It can be argued that the same mathematical ratios that constitute music are the same ratios that constitute form and matter. It’s how things fit together.
There are certain things people say about music, if you think about it literally, people would say it is odd. “That drummer is solid.” Yeah, right. If you touch that person you can’t penetrate their skin. “The arrangement is solid.” What does that mean? To me that means the way the song is structured, the length of the verse and the chorus, the amplitude of each part and how it relates to the other parts, and the bridge, how all this fits together mathematically is how this all comes together as a pattern, or patterns, that all have order, with a magical musical contour that makes them work.
It’s like reading a great book; how much tension is there, when, how much conflict is there, and at what part of the story.
Two notes that are an octave apart; for every vibration of the bottom of the octave, the top is vibrating twice. That’s a two to one ratio, that’s the most harmonic interval in music. In matter, what is the most abundant compound on the planet? Water: H2O, two hydrogen atoms to one oxygen atom. What’s the most abundant compound gas on the planet? Carbon Dioxide: CO2, one part carbon to two parts oxygen. In molecules, the most common have the lowest ratios.
In music, the next most harmonic ratio is the perfect fifth. That’s a 2 against 3 ratio. The next is a perfect fourth, that’s a 4 against 3 ratio. In music, there are two kinds of meter: compound meter, which are groups of threes, and simple meter based on twos and fours and eights. Odd time signatures are combinations of both. These are defined by vibrating objects. Rhythm, drum set, everything I play, I can reduce down to these patterns.
The wave form that started the whole concept for my upcoming book, Keys To The City, I play 5 against 4 against 3 against 2 simultaneously, and it creates a chord. At 59 plus BPM, the chord is an A minor 7 , 2nd inversion, 8 octaves below middle C. When you slow down chords they become rhythms. These references are to mathematical frequencies. Rhythm turns into pitch.
My system of teaching drums is to show people how to understand time as hearing rhythm in tune. The most common thing people do when trying to get their time together is to tense up and rush. Basically what they are doing is playing sharp.
As well, I introduce the concept of singing these rhythms with their voice.
I have people play and sing in a continuum, as in a wave form. Similar to tuning a guitar with out a tuner. The strings are in tune when the wobbliness goes away; the strings are vibrating in sympathy with one another because they are in tune. With drums; playing rhythms that are in sympathy with one another. I teach people how to understand, from every point of view, what it is they are doing, all based on repetition.
Steve: I’m Steve Smith. My lot in life is that 34 years ago I started the Seattle Drum School. Most people know me by that achievement and I have had a lot of help building it, including my wife, Kristy, and this amazing staff. I play the drums, I also teach drums.
Mackncheeze: What was your education?
Steve: I earned a Bachelor of Music degree and a Master of Music degree. I have studied with the best people possible. Just had a lesson with Will Kennedy of the Yellow Jackets. Soon to be having a lesson with Peter Erskine from Weather Report.
Mackncheeze: What is your impetus for the Drum School?
Steve: I started formally teaching drums at 14. It seems to be an instinct and a passion. I like to see people grow and be excited about learning.
Mackncheeze: When did you get your first drum set?
Steve: My first drum set was my brother’s, of which he grew tired. It was a 1939 Gretsch kit, a 26 inch bass drum, with calf skin heads, cigarette burns and alcohol stains. I wish I still had that kit.
I was twelve and my brother was a couple of years younger. At seven I was actually playing Hawaiian lap steel guitar. I wanted to play regular guitar but my fingers weren’t big enough. After 2 years I graduated to Spanish Guitar, which was a Lyle Electric. I played that for a couple of years.
I joined the Tri Cities Drum and Bugle Corps in 1970. I fell in love with that. They put me on tenor drum, the ninth tenor drummer out of nine. I think they wanted to get rid of me because I was so bad. The drum was super heavy and I couldn’t play.
I taught myself how to read drum music, asking the snare drummers to teach the first lines of drum cadences. I would just analyze it. I’m good at math so I was able to deduce what meant what.
I didn’t really start to play drum kit till I was 18. I had some technique because I had drum corp training but I couldn’t swing. I learned how to play everything through pure determination, commitment and drive, not understanding proper technique or metronomic time.
Mackncheeze: The Hanford story is great; could you share that?
Steve: I’ve always been intrigued by science, my senior year in high school I got involved with one class. Only eight people could get in to it. You had to work to qualify. Go to school in the morning, study science and math, government and international relations, do studies and research projects, design experiments and run them.
Mackncheeze: You were 17?
Steve: We took one other class beside the curriculum; I took grammar, composition and revue. I’m grateful for the instructor because she taught me how to write.
In the afternoon we would go out and work at Hanford’s Nuclear Research Facility. I would hang out with really smart people in Nuclear Engineering. We did fast reactor dosimetry, materials testing and analysis for parts being used in experimental breeder reactors. One of the people I worked with had taught at Purdue, I could talk to him, he actually sounded like a human, he helped explain things to me.
They hired me full time during summer. That might have continued but a cover band hired me because I was the only drummer they could find. They were very ambitious and went on a hotel tour playing lounges 6 nights a week, paying me 200 to 250 bucks a week plus room and a meal a day. That was more fun than working at Hanford.
Mackncheeze: That was a great gig back then. Today, those gigs barely exist.
Steve: My Mom and my teachers were extremely disappointed in me, fearing I was going to change into an alcoholic lounge lizard. I managed to save $700 a month for one year with the intention of going to college.
I started at Columbia Basin College, trying to play in the jazz band, but better drummers were there that actually swung, so they were nice to me and let me sing in the jazz choir. That was a blessing because I actually learned ear training and how to sing. It’s funny how circumstances can change; where you feel you are being tortured and you end up being grateful.
The next year I went to Central Washington University. It has a very strong music program. I was a music major and took math and science courses to fulfill my requirements. I remember taking a college algebra advanced course and getting 100% on all my tests. The instructor told me to not bother with the final exam because even if I had a zero score, I would still pass with an A plus. I like math, being able to figure something out to the absolute, exact, definitive answer.
My girl friend and I had broken up at the beginning of February. As The 14 th. approached, I grew ever more nostalgic of our relationship. I suppose I missed close proximity with a woman I had spent a couple of years with. Having Einstein like qualities in my thought process, I decided I would begin the reconciliation of our love on Valentine’s Day.
Chocolates, flowers and a Teddy Bear; a perfect way to convey my true sentiments.
On my way over to her house, my cell phone notifies me of a text. I pull over before looking at my phone. Eric, my bass player friend: “Dude, our drummer crapped out on our gig tonight. You available?”
What the Hell was I thinking. I threw Teddy, candy and flowers out the window, drove off, chasing my dream.
Why not drive without head lights? Isn’t that what curbs and side walks were made for? Just kind of feel your way down the street risking flat tires. For a time it seemed to partially work.
Example Number One: I spent a year traveling with a band that disregarded our booking agents parameters. The only reason we weren’t fired sooner was because the rooms we played liked us. I had a nagging concern that we were not fitting to the standards adhered to by the other acts they managed. Too much pot, not enough focus. I walked away from that one.
Example Number Two: For the longest time, without knowing my destination, I desired success in my ventures. Early twenties, on the road, missing part of my grey matter, as clueless as can be, thinking I had arrived, not understanding how lacking my associations were.
Today I see the destination; lots of water under the bridge. I now understand what I sight in the cross hairs can morph, letting the target evolve, discarding previous conceptions…Making sure whatever I seek aligns with my passion.
Back in the day, when gigs were booked by the week, we played a one month stint in small coastal town. Four live music venues, tons of bars, and some pretty good restaurants. The local industry survived on fishing. Quite a prosperous place.
In a town such as this, it was quite natural to develop close friendships with said citizens. I, and others in the band, would be invited to people’s homes, met families, shared meals; amazing hospitality.
One February night, gale force winds were pummeling the coast line; because of weather, the club was deserted. Halfway through our third set, one of the locals came in and announced that 13 men had perished that evening. Three boats had gone down.
Locals took news like this badly; a sense of sorrow and loss pervaded for weeks. I would have never been impacted as greatly on news such as this should the event have occurred in my home town.
That night has stuck with me my whole life. Life is precious, family is precious, friends are precious. I try not to forget and not take life for granted.
Unfortunately, that’s not quite true anymore for Terry Jones of Monty Python fame.
We, who “got” the Monty Python humor ( and I remember many of my friends when I was younger didn’t ) were saddened on January 21st. by the news of his passing. Now, with Graham Chapman, two of the six geniuses who were Monty Python’s Flying Circus, are gone.