Lee Townsend: Originality and Feelings
“ Townsend has named [Floratone] 'futuristic roots music,' and no wonder, as it presents an eclectic mixture of different strands of music with a wide array of electronic sonic wonders. ”
One of the producers that can be tagged as creative in this domain is clearly Lee Townsend, someone who has produced some of the greatest records of all time. His production interests vary from singer-songwriters, instrumentalists, contemporary composers to improvising musicians and cross-cultural musical collaborations. Townsend has channeled these and other experiences into his unique artistic vision.
In between working as an independent producer, Townsend has worn many hats as he is a manager and owner of the label Songline/Tone Field Productions, was the Vice President of Artists and Repertoire for Verve/Polygram Records, general manager and director of U.S. Operations at ECM Records, and a staff producer at National Public Radio affiliate, KCRW-FM in Santa Monica. So how does he balance all of these duties and obligations? "It's a constant juggling act. But it's very challenging and stimulating to work in these various areas. The management relationship tends to be an outgrowth of the producing relationship.
Through the years he has produced works for various artists working in different genres. The artists range from Bill Frisell, Rinde Eckert, Vinicius Cantuaria, Shweta Jhaveri, Dino Saluzzi, Gabriela, Petra Haden, Viktor Krauss, Charlie Hunter, Dave Holland, and John Abercrombie to Metheny and Scofield, and Dusan Bogdanovic (to name but a few). His productions are characterized by surging, luxuriant and spacious audioscapes. There is textural richness and warmth which makes him unique. "My primary criterion is originality and feeling, an affinity for the artist and the artist's work. I also have to feel like I can learn something from working on a particular album. I like to view each one as something like an inquiry or research project. And finally, I need to have the feeling that I can make a meaningful contribution to the project in hopes that I can help elevate it in a way that might not happen if I wasn't involved.
Working with people can produce both pleasurable and horrible moments. Some works are more of a challenge and break new ground, and others simply don't. Which artists were the most interesting to produce? "Every project has its compelling aspects and interests. That being said, my relationship with Bill [Frisell] and his music is longstanding, deep and ongoing. We share a lot of the same musical and artistic values, such as honoring mystery and a non-hierarchical attitude about many musical styles. Furthermore, by now, we are very close friends. Working with him has been a tremendous challenge and an honor, and I hope we can keep on doing it. Rinde Eckert is another artist from whom I learn a lot during the process of making a record. It's often like a journey that reveals many levels of meaning as the project unfolds. He is a very multifaceted artist, and the productions require a sensitivity to the various and unexpected ways that his verbal and musical ideas interact.
Some works stand out more than others, but in any case it is always difficult to tell which work one is most proud of. "That's difficult to say, because it is sort of like choosing which of your children is your favorite. On the other hand I only have two children, so maybe the analogy isn't so apt. I'll just say that I had the occasion to hear the records that I made with Vinicius Cantuaria, Shweta Jhaveri and Loudon Wainwright III recently. And I was very pleased when I heard them. Of the records I have done with Billif I look back on which ones still feel fresh in terms of standing the test of time, I admit to a special soft spot in my heart for The Intercontinentals, Good Dog, Happy Man, Ghost Town and Blues Dream.
Though he is credited on many recordings, one of the gems that Townsend has produced is the sequel to Steve Tibbetts' and Choying Drolma's masterpiece Chö, titled Selwa. What made a big difference between that bold step into the music and culture of the Himalayas and other quasi-world music recordings was the careful production, delightful sense for ambiance, breath-like silences, unmatchable taste for arranging, and many intangible things that make an excellent album a long and pleasurable listening experience. Nothing has sounded like Chö since then.