Category Archives: Interviews

Interview : C Joynes

NJD: The first thing I always notice when I open a new C Joynes album is that it always looks like a very personal art concept on your records.

CJ: Yeah, definitely. It’s one of the things that I’ve always really enjoyed. For me it’s always been part of the whole process – it’s included artwork and design and all of that sort of thing. I’ve always really liked albums that are put together and presented in a way where it looks like a hermetically sealed concept – where it’s stuff that’s been produced by one person or a very limited group of people. For example, all the self-released Sun Ra albums, I just love the artwork and graphics on those. Also the stuff that Billy Childish put out when he was self-releasing his own stuff. So right from the get go that’s always, I don’t know how essential it is to the music but it’s all part of the process of putting together an album.

NJD: Is this album called Congo because that’s somewhere that you’ve visited?

No. There’s a statue that appears on the cover of the album, and the statue was christened Congo. It was given to me as a gift when I was in Kenya. The little statue does actually come from the Congo and he’s been sitting on top of the right hand speaker of my hi-fi system all the way through the mixing process. There’s a little sphinx that someone gave my wife as a gift on the left hand channel and Congo on the right hand channel, and the pair have been kind of like the totems for this album, kind of overseeing the whole thing. It’s got something about it, a real personality. I’m always a little bit suspicious about “concepts”, but it’s definitely contributed to what I see as an underlying theme to this album. It’s the notion of this very distinctive totem that has come from a very different and very unusual part of the world and ended up in this little cottage outside of Cambridge. If there is a concept it’s about the exotic in a small, domestic traditional English setting – the kind of clash of cultures that’s going on there. Continue reading

Grayson Currin Interviews Glenn Jones

 

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This interview originally appeared on Pitchfork.  Reprinted with permission.

As best as he can remember, Glenn Jones has been playing guitar since 1967, when he was 14 years old. Despite four decades spent behind six strings, though, he still talks about the instrument like an infinite terrain– not only for himself but also for the current crop of new, young guitarists following the sounds of his calloused fingertips. He discovers and sometimes discards new tunings almost constantly, and his best tunes sport the sense that they were considered and carved with the diligence and patience of some elaborate wooden trinket.

“It was a gradual process that came from a lot of time and hours and weeks and months and years playing guitar alone and being alone,” says Jones. “Eventually, it’s to say this is mine.”

The Wanting, Jones’ first full-length album for Thrill Jockey, is a collection of tunes for banjo and guitar that explores dozens of different ideas within its hour run-time. From the redolent moan of the title track to the withdrawn sigh of “Even to Win is to Fail” and from the gentle climb of the opener to the elliptical expanse of the 17-minute closer, Jones has made a record that twists and turns through both feelings and techniques, impressing even as it empathizes.

Pitchfork: Even more so than with your previous records, I was immediately taken by The Wanting. I kept needing to hear it. For you, what’s different on this record than your other LPs?

Glenn Jones: I’m not sure if it felt that different going into it. I’m not a fast writer. It takes me about two years to write enough material for an album. Generally, that two-year period is just a reflection of where I’ve been during that time, new tunings I’ve uncovered, and how I’ve navigated the twain of those particular tunings. The only thing that feels different about this one is that I spent more time with the banjo in the past two years than I had going into Barbecue Bob in Fishtown, which had a couple of banjo pieces. Also, the duet I recorded with Chris Corsano is a little bit of a departure, at least for my solo guitar records. It’s not so unusual maybe to Cul de Sac fans. That may be the extent of what I think is different. People tend to look for new directions, and I’m not sure if there is a marked new direction rather than a further exploration of what I’ve always been interested in. Continue reading

Interview : David Surette

davidsurette3Earlier this year, Work & Worry received a CD from David Surette, a fantastic instrumentalist and songwriter who resides up in Maine. Surette is my kind of picker : equal parts British folk revival, country blues, ragtime and traditional… well, that’s not totally true, his playing at times actually leans a little bit more to the British school than most American fingerpickers, which I guess is what I really love about it!

The performances on Sun Dog, all done in a single evening on a single microphone, are absolutely impeccable. All eight tracks feature clean, confident picking and a finely honed sense of composition, structure and ornamentation. It’s the kind of accomplished, out of nowhere record that is not only a joy to listen to, but makes a guitarist want to up his or her game… from the John Renbourn-esque “A Lot of Sir John” and “Cold Rain” to the feel-good raggin’ blues of “Frog’s Legs” and “Ukelele Stomp”,  Sun Dog is easily one of the best guitar recordings I’ve heard in a long time.

Surette’s liner notes on the CD do a fine job of describing the inception of these songs, and he also denotes the tunings… so I wanted to talk to Surette more about some of his perspectives on guitars, playing, and some of his influences.

W&W : Calling David Surette.. David, are you there?

Hey man, how’s it going?

W&W : Very well, how are you?

Good, it’s a beautiful day in the neighborhood.

W&W : Let’s talk about where you are and where you’ve been. You seem to have extremely strong ties to the music scene up in Maine… have you always lived in that part of the world? Where were you when your interest in guitar first developed, and what did you concentrate on when you were first starting out?

Well, I grew up in northern New Hampshire in the mountains, North Conway, which is right on the border with Maine. So I’ve always been a NH/ME kind of guy. I moved down to this area when I was going to college at UNH, from ’81-’85, and ended up sticking around. There’s a good local music scene here, and it’s close to a lot of other great spots, like Boston and Portland.

I started to play guitar when I was 14, and I’m 47 now.  I started out on electric and acoustic, mostly ’60s-’70s rock. I loved blues-rock, too, and rootsy stuff like The Dead, The Band, The Allmans, so I got into the blues and folk stuff that way, like checking out this guy Robert Johnson that the Stones were covering. I’m probably like a lot of other folks in that regard. I got into fingerpicking in college. Continue reading

Interview : Sam Moss

SM on Building 1I first became aware of Sam Moss’ playing via Tompkins Square’s Imaginational Anthem Vol. 4.  Sam fit right into that album’s Takoma-leaning tracklist, and much of Sam’s music that I’ve heard since has had a pronounced American Primitive approach…  his double-thumb, spare melodies and pretty pattern picking not only invoke the music of John Fahey and Peter Lang, but also modern-day interpreters of the genre like Glenn Jones and the late Jack Rose.  I recently caught up with Sam to talk about his new release, Eight Constructions.

W&W : Talk about how you got started in music, some of your early influences.

Most of my early influences came from the music my family listened to. My early memories involve Marvin Gaye, Stevie Ray Vaughan, Mozart and Benny Goodman. My parents are big music appreciators and my grandfather loved big bands. The joy he got from listening to Goodman, Count Basie or Artie Shaw was one of the main reasons that I wanted to play music. He was an artist and he used to have a cymbal in his studio so that he could keep time while blasting his records! I initially wanted to play the clarinet, but I ended up with a violin in my hands.

W&W : When did you first start playing acoustic guitar?

When I was something like thirteen. I favored electric for a long time, until I got into jazz a few years later. I started exploring the possibilities of solo acoustic playing, fingerstyle, etc, a few years ago.

W&W : Please describe your primary guitar, how you got it, how long you’ve had it, etc.

It’s a Tacoma DR12, made sometime around 2000, before the company was bought by Fender. I picked it up used a few years ago at a Guitar Center. Almost all the Tacoma’s made around that era have a finish flaw on the back and sides that causes little air bubbles to spread all over. Mine has it really bad and the finish is chipped all around the sides and is continually getting worse. Tacoma makes a pretty ugly guitar to begin with and the finish issue really puts it over the top. But it’s a great sounding dreadnought and the price was right… it has character. Continue reading

Interview : Maneli Jamal

maneli-jamal_picManeli Jamal is a prodigious young fingerstylist, currently residing in Toronto, Canada. He works in the contemporary, highly physical two-hand style (lots of fretboard tapping with the picking hand) popular with a lot of young players these days, but there are several things that set Jamal apart from the multitudes of Andy McKee hopefuls who play the virtual YouTube circuit.

To say that Jamal’s technique is advanced would be a huge understatement. There aren’t many players in this style that have Jamal’s balance of power and sensitivity, nor his breadth of ideas. His rhythmic concepts can be alternately short and dense, or explored carefully through several movements, as in the four part suite from which The Ziur Movement album takes its name. Jamal has absorbed a number of musical styles, and he is able to seamlessly incorporate jazz, flamenco, classical and Persian ideas into his original compositions. The resulting pieces are very impressive, both technically and musically, and his CD is one of my favorites in the contemporary style.

I recently conducted this email interview with Jamal.

W&W : Let’s talk about the evolution of your fretting hand. You played in punk and metal bands when you were younger… would you say that that’s where you built up your strength and dexterity? Talk about your beginnings in guitar, and some of the early inroads you made toward your current (high) level of technique. Which players put you on the path to your current hybrid style?

When I started to play guitar I had already played violin for a few years learning from my father, a master Persian violinist. That definitely made learning the technical side of the guitar easier at first, especially the coordination between the hands. The great thing about punk and metal playing is that it’s fast and fun as hell to play for anyone starting the guitar.

Because I was self taught I used to be the kind of player that didn’t worry too much about accuracy but rather speed and what sounds cool, which was what punk music to me was all about. Unfortunately, I didn’t teach myself the discipline of accuracy and slow practice until years later. The guitarists of Thrice and Iron Maiden really influenced me in the punk / metal genre. I felt like I had reached a plateau after 3 years of playing that genre in my right hand picking. I thought the guitar pick was the best and most efficient way of playing the guitar… little did I know. I got into the likes of Al Dimeola and that opened up a whole new world for me. Continue reading