CJ Shearn Posted February 13, 2014 Report Posted February 13, 2014 For the NYJW blog http://www.newyorkjazzworkshop.com/talking-kin-pat-metheny-cj-shearn/ Quote
CJ Shearn Posted February 13, 2014 Author Report Posted February 13, 2014 You are welcome. I was thanked by some members of the Yahoo Pat list for being the first out of all the people interviewing him to pop the PMG question. You know what? I just have enjoyed the other projects, gone back to (like he said) the older records if I desire that thing, but I know they'll be back ;-). I knew it wasn't a PMG record going in, although I knew some of those elements were involved, I wasn't looking for it to be anything rather than what it is. I have very much welcomed and embraced this new shade. That first "Unity Band" record I really like, and I started wondering as a fan "what if he added these aspects?" because it was only a hint of what this unit could do, and thankfully his muse led him to that. The very casual fans have been thrown off by Potter's contribution, which I think, along with the colors Carmassi provides, and Ben Williams' playing especially really make this work as a whole, the Orchestrion is so natural now too, it's used for assorted textures, and never gets in the way of the live playing from the quintet, at least for me. Quote
David Posted February 14, 2014 Report Posted February 14, 2014 CJ -- thanks for sharing! That was a great read. Plus, the Carmassi video was a joy to watch. Quite a talent indeed. Quote
B. Clugston Posted February 14, 2014 Report Posted February 14, 2014 Nice interview--I really enjoyed that. Quote
CJ Shearn Posted February 14, 2014 Author Report Posted February 14, 2014 (edited) You are welcome There will be more interviews forthcoming. Tommorrow I am having one with the founder of NYJW, Marco Chelo. I also completed an interview with the co founder, tenor saxophonist Marc Mommaas, who's new solo record "Irreversible Momentum" is very interesting. Inspired by his late father's suggestion to do a solo saxophone record as the ultimate creative test. I could tell you, that from listening even thru Rhapsody, the sound was amazing. He told me no compression was applied in mastering at all, just the sound of the room (at Systems Two) and his saxophone, very immediate. Edited February 14, 2014 by CJ Shearn Quote
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