Joe and I were interviewed on WHYY’s Radio Times yesterday with Marty Moss-Coane. They gave us a full hour, which I thought was terribly long, but it actually went very quickly. The audio is embedded below for anyone who didn’t hear it live. I was so happy to be there with Joe, sharing his stories. And I’m getting even more excited for the premiere.
It’s been a pretty surreal week. Aside from the interview, I’ve been working at Rob Hyman’s studio for last few days, assisting with sessions for Mutlu. And today, I hit the road for a few days with Wonder & Fury. I’m feeling very thankful and fortunate.
I recently cut together this video from Dylan Taylor’s CD release party. The event was held at the Painted Bride, which I think is one of the best rooms in the city. Not only that, but it has a very cool, funky vibe, which I thought was the perfect match for Dylan’s musical aesthetic. The lineup was outstanding, which featured nearly everyone who played on the album, including the great Larry Coryell. A last minute add-on was John Swana on EVI/valve trombone, which was such a treat.
I was mixing the show, but also jumped on stage to play Coryell’s “Low-Lee-Tah,” since Dylan switched over to play electric cello on that tune. I haven’t been that nervous on stage in quite a while – the caliber of players was quite intimidating for me. But it was an incredible experience.
The night was a success, and I’m so proud of Dylan for releasing this record. We’ve been working together for about 2 years now, and he is an excellent artist to collaborate with. He’s always very gracious, has good vision, but knows when to lean on me when he’s not sure of something. We also worked on the soundtrack for a foreign film that was premiered at the Tokyo International Film Festival last fall, and I’m excited to see what new projects he has in mind. But for now, I’m still enjoying “Sweeter for the Struggle.”
P.S. Huge thanks to Tom Emmi for filming the concert. You may know his work as producer of the Studio Jams series.
Here’s another attempt at getting my website caught up with recent activities. Before the AlyCat tour in October, we decided to shoot another music video. Intended as a companion piece to our last venture, we used nearly the same crew, and went for a similarly quirky vibe. We once again enlisting the talents of puppet master, Jake Bradbury, and, while the plot was conceived by the band, Dom Hilton fleshed out (suctioned out?) the idea, which wouldn’t be complete without movie references (you can spot allusions to Spinal Tap and 20,000 Leagues Under the Sea). The result is a distorted view on an overbearing lover. Don’t say I didn’t warn you.
Last summer, my filmmaking partner, Dom Hilton, met a very interesting person while on vacation. So interesting, that he felt that he had to document the man’s life in some small way. With no gear available to him, Dom took a real DIY approach and built a tripod with which to mount his iPhone for filming. He then took the footage home and cut together a micro-documentary about Captain Jerry, a Garifuna fisherman who sleeps on beaches and escapes shark attacks. Dom asked me for some music to drop into the piece, so I whipped up a short bed. For some reason, I was feeling “harps” with the aquatic opening segment.
Captain Jerry from Dom Hilton on Vimeo.
This seemed like an appropriate title for my first post since October. After returning from a killer tour with AlyCat, things got busy. And then the holidays happened, so it was all a wash, as is the case for so many of us. But with a new year upon us, and a snow day forcing me to stay in, I want to try and post some recent activities on here. I will not promise or resolve to do better in 2014, but I will do better for right now.
Last spring, I got a call to work at the Merriam Theater for comedian Aziz Ansari. We would be on the crew filming a comedy special to be released at a later date (my good friend, Matt Martin, was also on crew). I worked as A2, recording the audio from the show, and it was a really great experience (climbing through and hanging off of parts of the Merriam to run cables was something I’d never thought I would do). At the time, the special did not have an outlet. That is, a party to distribute the end product. I believe that Ansari was considering just offering the special direct to fans, since Louis C.K. opened the door for such a system to succeed. But in November, Netflix decided to pick it up, and the hour long stand-up comedy special was premiered.