By Allen Huotari
"We are a mirror in the universe of music. It's not what you say of it, but what the MUSIC, it says of you." - Sun Ra
A lot of you reading the above quotation may consider it to be deeply insightful philosophical revelation. Then again, many of you may regard it as little more than magical, mystical hogwash.
Despite your opinion, it should be easily and quickly agreed upon that writing and/or reading about music is secondary to LISTENING and HEARING.
But in that case, perhaps what the music says to you is the flipside for what it says of the musician. And to extrapolate, what your personal music library says of you to another may correlate to what a musician's composite body of work says about him or her to you. If one picture is proverbially worth a thousand words, then what is one cd worth? (hey, that was a rhetorical question, the answer is not “about $14.99”…although the humor is much appreciated).
Anyway…the bottom line is this: whether a musician is unveiling heart, mind, and soul or is simply saying “here are some cool sounds and I hope you enjoy them” or all of the above, the music needs to be heard before any message can come across.
The interview below is a follow-up to the November 2001 label profile of Louie Records by AAJ correspondent Laurence Donohue-Green and is part two of a two-part interview.
Part one (see AAJ December 2001) focussed upon the role percussionist Dave Storrs fulfills as the founder of Louie Records. In part two, AAJ examines Dave Storrs as independent, improvising musician.
This interview was conducted via e-mail in December 2001 - January 2002.
ALL ABOUT JAZZ: Would you please tell the AAJ readers about where you were born, raised, and what your earliest musical memories are?
DAVE STORRS: Portland, Oregon – January 1950. Dad (who is a well known NW Architect) brought home a drum in the mid ‘50's and dragged some silverware (knife/fork) loosely over the head while whistling some Civil War tune. Then the trombone in 5th grade because I had long arms. The Riverdale Band recorded an LP in '63 that rocks – man, the Music Man Medley is worth the price of admission…And then the high school bands – sitting on a Samsonite folding chair on a couple of phone books doing “Twist and Shout”.
AAJ: What led you to choose percussion as instrument(s) of choice?
DS: Played Kit Zilka's Gretsch drums in summer of '64. It was all different after that. Still play Gretsch. Just don't do “Twist and Shout”. I like being part of the “design team”. You can't be more of an architect of sound and time than being a drum set player. Added congas to the mix in the mid-70's.
AAJ: How would you describe your musical education? Formal? Informal? Both? Please elaborate.
DS: Informal. Well, other than school band, a few music lessons (George Marsh and Kwaku Dadey – African master Drummer in San Francisco in '76) and The University of Oregon in the early 70's for some classes it's all gigs, practicing and playing. Don't read too well and would flunk out of a Community College theory class, probably.
AAJ: Was there any watershed moment where you decided (or discovered) that you simply had to become a musician? Please elaborate.
DS: That night at Kit Zilka's drum set in '64. The Riverdale Band had lots of zip. And then a whole lot of moments with a whole lot of bands/musicians where we went to that special focused space that music (especially improvised music) can provide. Seeing Sun Ra in '78 was a major change in how I looked at Time and Space.
AAJ: When did your first exposure to jazz occur? What was your reaction?
DS: Folks had some Brubeck records in early ‘60's that I dug. Then in the late ‘60's, after a summer of Cream, The Doors and Iron Butterfly, I think my brain chemistry just gravitated to jazz. Had a Fathead David Newman record and “Nefertiti” by Miles and then I met saxophonist Rich Halley (1970) and he turned me on to a bunch more. Met bassist Steve Willis as well and we jammed and learned some standards, played free and made up our own stuff. Group was called Multnomah Rhythm ensemble and it still sounds fresh. Played with Julius Hemphill in 1978 with this unit. Still playing with these guys.
AAJ: Who or what are your most profound sources for influence and inspiration? (this can include non-musical items) Why or how do these influence and inspire you?
DS: Sun Ra (really gets to the spiritual space – including the humor), Mingus, Miles, Ornette, Eddie Palmierei, African field recordings, Ravel, Charles Bukowski, Thomas Mann, Blue Note recordings, Daniel Ponce, Paul Butterfield Blues Band, all the Louie artists, my family, daughter, friends, wife, etc…Doing a 10 day Vipassana meditation retreat in '98. The Tone Sharks and Louie Records has been a major step forward for me. Every thing I believe in channels through this vessel…
AAJ: You mentioned that your dad is an architect. Then you also mentioned liking “being part of the ‘design team'” and that “you can't be more of an architect of sound and time than being a drum set player.” Could you please elaborate a little on how your dad and/or architecture informs your sensibilities?
DS: I am beginning to see how much I “absorbed “ from my dad. He liked to go on the job site and ”wave some arms”. The process was open ended and liquid with him and for all his ego worked well with the clients that interested him. And he really fit the buildings into the land. He wasn't avant – he designed houses/buildings to be lived in – not gawked at.
The drum set sits in the landscape area of music. We contain the music – add texture through the various sounds available (cymbals, toms, etc.) It is a big instrument (lots of instruments really) with a wide spectrum of sound. If drummers can watch the pattern oriented approach that permeates the craft they can do great service to the composition.
AAJ: Would you please recount the circumstances that led to your first two LPs on Avocet (“Ross Island” and “Jumper Cables”)? Please, and if possible, describe the music on these LPs also.
DS: I just moved into increased responsibility in life and writing my first tune in 1978 (Ross Island) led to the idea of leading a band / putting and album together. By 1984 I was married and in my thirties and an old friend (Hal Lee) started Avocet Records in Rich Halley's basement. And eventually we had enough tunes together to record “Ross Island” (contemplative, melancholy, quirky, written after a trip to Nepal/India). Once I had lost a sufficient amount of money on that project it was on to a more rhythmic oriented approach on “Jumper Cables”. Both albums received excellent critical notice but neither sold. I still love some of the tunes on these (back when I wrote tunes) – some of the compositions took about 20 minutes to write and those are usually my favorites.
AAJ: You mentioned in part one that Louie Records was founded by you with the release of “Report from a Log”. Could you please recount the circumstances around recording this album?
DS: In 1990 I found myself in Corvallis, Oregon with a new girlfriend (now wife), a desire to escape the confines of bebop that Portland represented to me, and just a different situation in general. I also had a batch of tunes that had accumulated from the ‘80's. We started to record a third album on Avocet but “things” came up. Once we had finally purchased the lovely home with the little garage it started to change. Electronic gear was getting cheaper and I was buying it, reading about it (although I couldn't tell you too much about what I was reading) and using it. “Report from A Log” (which used sequencing) took me basically three years to make. It drove me half nuts as I endlessly remixed, overdubbed and bought the new and improved gear. I had a friend Mike May (a psychiatrist by trade) listen and photograph and advise. I think it added/took off about 5 years to our lives. Finally it just had to be done and was…
I'm very proud of “Report from a Log” (which could be described somewhat as an “avant-pop” album). It got to # 23 on the CMJ charts and…guess what? Just like most of our stuff, it sold pretty much zip.
AAJ: For those AAJ readers who are unfamiliar with your works, how would you compare and contrast “Waxing the Slide” and “Another Thing”? What are the similarities and differences?
DS: “Another Thing” is just me with percussion instruments and some sequencing. I went out there and did a tune an evening. There were no second takes and I mixed it that night. I started with sequences on “Waxing the Slide”. Many were written from drum sounds I found in a new piece of gear I had just purchased. And then I went to various homes or had people stop by and had them drop their thing in. And then I went at it some more and overworked and overmixed and otherwise got in the way until I was just sick and I released it.
AAJ: What aspect of making “Another Thing” was the most fun? What was the most difficult? What did you learn that you will carry forward to future recordings?
DS: Going out there and firing it up. I only planned to make a few of them so the whole thing was really “off the record” – the way all Art should be. I like stumbling around in the studio while I look for something to hit. And then listening to it on the monitors and adding effects and tune titles and listening some more. It's fun out there in the studio, with all the knobs, buttons and lights. And most of it's paid for.
AAJ: Among the many talented musicians you've worked with who has presented you with the most challenging and/or synergistic relationship? Who have you learned the most from working with? What is it you've learned?
DS: I would have to spread that out to everyone present in the Louie family. I met Rich Halley (sax) in 1970 and he turned me on to many new jazz people and we played lots of duets. We have performed together for over 30 years now. Around that time I met Steve Willis (bassist/guitarist) and that is/was an important person to bounce ideas off. Willis often offers the voice of restraint. “You don't always have to express yourself” is a comment he will make regarding group improv. Rob Blakeslee (trumpet) has pushed all of us to new levels and been very supportive when I really needed it. The “rhythm group” which includes drummer Mike Klobas and bassists Page Hundemer and Clyde Reed are people I am in contact with often about the “design” of music. We philosophize constantly. Mike Curtis (reeds) and Dave Leslie (keyboards) have been an important part of my appreciation and understanding of melody and harmony among other things. Tom Bergeron is a very steady soul who has taught me more on that subject. Valerie Brown (Uneasy Sleep) and Mark Bakalar (What a Day – Lil Big Boy) are energetic, creative people who are a blast to be around. And where trombonist Brent Heyne gets some of his ideas, like this whole crew, is sometimes beyond me. Young guitarist Tom McNalley proves that age makes no difference. And Dave Trenkel who does the great mastering (and also put out some fine CD's in the past few years) is someone who has helped my ear a whole bunch
AAJ: What musicians would you most like to work with that you've never worked with before?
DS: I haven't really thought about it. We'll meet on the bandstand someday…
AAJ: Although Louie Records is “your” label, it should also be clear to everyone that it's also used to release music by some other pretty talented musicians (e.g., Rob Blakeslee and Rich Halley to name just a couple). Which recording(s) do you feel as been the most intense? Or profoundly moving? Or challenging? Or maybe simply put, which have been most memorable? Please elaborate.
DS: Each one is different. I truly can't answer that. I do feel they are getting better as we age. I feel "What a Day" by Lil' Big Boy and Boundary Issues is the most neglected and misunderstood title. At first glance it would appear just wacky, but it has a distinctive sound and feel(s) that I think are quite marvelous.
I am just proud and pleased to be involved with the first 20 titles and look forward to 20 more (and 20 more).
AAJ: As follow up, why did Louie begin it's release numbering with 5?
DS: Byard Pigeon who did the artwork for “Report from A Log” thought we could “frontload” some other projects from earlier (and funnier) times. And we still might. But sales haven't been exactly brisk lately so we are kind of waiting (do they make basements big enough to hold all these unsold CD's?).
AAJ: You've mentioned a couple of times in this interview the reality of life for many independent musicians. Namely, critical recognition without economic payoff. At the risk of a really stupid question, is this frustrating for you? Please elaborate.
DS: Of course it's a problem. I would love to do this full time and get paid for it. (one and the same thing) But we teach or cook or go to offices and then we play for essentially nothing. And while a bunch of jazz musicians play at the Lincoln Center and fill up the radio or pieces of paper with words and more words and make a decent living, the real stuff, the sounds and shapes that truly push the envelope, goes unnoticed. But this isn't exactly new stuff. The Greeks were probably having this same conversation awhile back. And at this point I really can't complain – we are in a very, very slim minority of people who can even entertain the idea of self-expression.
AAJ: As follow up (and I'm asking this again), WHY do you do this?
DS: At this point, there is no choice. Once you have tasted that wild, focused, free state that can be found in playing improvised music you don't want to do anything else.
AAJ: To wrap this section up, what advice would you have for aspiring professional musicians?
DS: Don't spend too much time listening to all the chatter (including this). The relative world of this and that has gained too large of a toehold in our individual psyches. A good amount of time playing with friends/musicians and just on your own is extremely important. I would count the alone time of hitch hiking way too much in the late 60's and early 70's as a big part of my own expression. And I would also make sure that intent and forgiveness are given a green line in regard to your musical plans. If you play with folks who lay too many trips on you, or do it to yourself, it will be a long and endless road.
AAJ: On a lighter note (pun intended), what is the funniest or most embarrassing thing that's happened to you while performing or recording?
DS: I guess I made this happen… Used to keep a sign in my snare drum case that said FOR SALE BY OWNER. (You know those signs you can get at the hardware store) And in the space that you probably write mileage or price I had written Enquire at the bar. I don't know why I carried the thing around – my toxic shame reminder I guess. And one night in the late 80's at some joint in Portland, there it was leaning up against the bass drum. And that night I meant it. But that thing is gone now and it feels good.
AAJ: In closing, do you have an update on the Louie Records release schedule for 2002? (i.e., anything else besides the Dave Leslie and Boundary Issues recordings you mentioned a couple of months ago?)
DS: Looks like lots of trios to start this year. The Rich Halley Trio has a new totally cooking CD called Objects due out in March. Boundary Issues and Klobas/Storrs (drum sets) will be joined by bassist Page Hundemer. Good stuff.
AAJ: Thanks, Dave Storrs, for spending time with All About Jazz !
postscript: Louie Records latest release is “The Brim” by keyboardist/accordionist Dave Leslie. Watch AAJ for an imminent review.
Also due for release sometime are recordings by guitarist Richard Moore, the Tone Sharks, and the Klobas/Storrs/Hundemer trio.
.jpg)
