David Gilmore: Getting To The Point
AAJ: What happened to Muse's output?
DG: I know that Joe Fields sold one of his catalogues that he owned and made some money. Maybe that's why they do less recordings. Cindy Blackman, who I play with, just got done with her obligation to Muse.
Every once and a while I did gigs with my own thing but I never pursued it heavily. In '91 I had my daughter, and I was going through some heavy personal things around that time. Looking back, that consumed a lot of my space, you know, and a lot of my focus. And then I started working with Trilok. Right before I went over there to work with Trilok, I quit Steve's thing. Trilok flew me over there, to Germany, to check me out and then rehearse, so it wasn't a sure thing. But I wound up playing with him a couple of years ("Bad Habits Die Hard , "Believe ). That was during Lost Tribe, too. Like '89.
AAJ: We've got to talk about Lost Tribe, with Fima Ephron (www.globalbass.com/archives/feb2002/fima_ephron.htm), Adam Rogers, Ben Perowsky (www.perowsky.com) and David Binney. Killer band!
DG:Well, we never made money with Lost Tribe, either.
AAJ: And you were on a major label!
DG: High Street, a branch of Windham Hill. They kicked in some miniscule tour support to do the states one time. We opened up for Steve Morse.
AAJ: I actually saw Lost Tribe with MMW on a co-bill thing.
DG: They actually did that one after I left the band. They were going out for six weeks driving through the states and up to Canada and back, and I had two gigs with Don Byron in Germany that paid more than six weeks on the road with Lost Tribe would have, so I decided, "I can't do this. No hard feelings, but this is it. They had done gigs without me occasionally before that because I was doing Trilok and Don, so the writing was on the wall there. It wasn't like a major cutoff. It was just time to part ways.
AAJ: In my small circle of friends and fusion lovers, there are people still getting hip to Lost Tribe.
DG: Wow. That first record was real special to me. Maybe just because it was the first record, and that we did it in Maui with Walter Becker. It was a beautiful place. Walter brought us to Windham Hill. Ben Perowsky met him at a session and gave him a demo and he liked it. Then Fima and Ben and Adam Rogers did his record ("11 Tracks of Whack ). It was fun man - I learned a lot from that project. It was definitely the most adventurous stuff on Windham Hill. It was very eclectic, they didn't know how to market it, especially the second record. There was rap stuff on it, and heavy metal.
AAJ: Good point, I really think the Lost Tribe stuff and the stuff Fuze did with the Torsos was a precursor to the rock-metal-rap that is so popular today. Yet, none of the modern-day bands have said that was an influence.
DG:Looking back, it really did have some of those elements in it. I just want to capitalize on all that stuff now. It can't happen fast enough (laughs). Seriously man, I just want to make a living doing what I do. It comes down to that. Getting some recognition in any arena would help.
AAJ: So there hasn't been any major label contact, huh?
DG:Of the few cds that I have sent out, there has been some label interest but they have basically told me that they can't make a move now, so I continued with my initial plan to release it myself. Arabesque was one of those labels.
AAJ: Ben Monder is on that label.
DG:Ben is a highly intellectual cat. He's super nice. I'd like to pick his brain about a few things. But yeah, there are labels out there. Plus I'd like to see what the interest is like for my new Kindread Spirits project. I think that's a great project in terms of commercial viability. That's me on guitar and guitar synth, my brother Marque on drums and samples and Matt Garrison (www.garrisonjazz.com) on bass, keys, and vocoder.
Matt is totally down with that project. He's really great. Kindread Spirits is more like what Nils-Petter Molvaer is doing, with a healthy dose of electronics. Nils is incredibly popular in Europe. He has label support there and he's built his following up.
AAJ: Do you think the fan base builds with the gigging or the gigging builds the fanbase?
DG:I'd say you build your fan base by gigging a lot and you also build the music. It's after that when you reach a point where you start to gig more in terms of demand.
AAJ: I like the whole jam band ethic of gig first and get signed later.
DG: :All I can say is that the market is funny in regards to who gets signed and who doesn't.