Nick Vayenas: First Steps
AAJ: That is a nice segue to your debut release Synesthesia. It's been out for few months now. Let's start with defining synesthesia and whether you've personally experienced it.
NV: Synesthesia is a condition of the mind where one type of stimulation will invoke a different type of stimulation. So it works in various ways, but one common one which I based the recording on is certain sounds or tones, you might think of a certain color or shape. I don't know if I would be diagnosed with that condition, but when I hear things I [experience] different colors or shapes. I tired to compose music with that in mind. Everybody has their own thing that they visualize, its not like I hear something and you have to hear that to.
But it's a kind of thing I am interested in and I thought maybe if I write music that way it will come out differently as opposed to coming at it theoretically. Here are the harmonies, here are the melodies. I'd rather think of it as a visual image, like a painter. That is a more honest way for me to compose music.
AAJ: Looking back did you find the experiment successful?
NV: Yeah. Pretty much. It's a work in progress. [Laughs]. For a start it's pretty good. Looking back at it now, the tunes have a certain mood I was going for.
AAJ: You've also mentioned in the past a strong interest in the sciences including astronomy. How did the interest evolve?
NV: My father was a biologist. He introduced me to plant life and geology. That has something to do with it. I've always been interested in astronomy and the starts. The history of the planet. It's crazy to me. Things that have been here, things in the past and the future that we'll never be around to experience. It's amazing what a short amount of time we're here for.
AAJ: Does that also influence your music as well?
NV: Some of the tunes I wrotelike the first track "Voyager," where I used a hard driving groove but added some ambient effects in the backgroundits dedicated to the Voyager spacecraft. They were launched out into space. I tried to imagine what it would be like floating out in space like them.
AAJ: On that tune and others on the album you used programming, you used hip-hop rhythms, its something our generation of players are doing more, blending electronics, hip-hop, turn tables into jazz.
NV: When something first comes out that is newnot that electric programming is newit takes a little while for people to start embracing it across the board. But musicians trying to create something look at all the options. This whole new thing of home studio, such a great opportunity, you can do the whole thing in your home. It's like a whole new world of possibilities. Before I did the album I'd done a little with the program Garage Band on Mac, it's a starter program home studio kind of thing. Then I got into Logic. And I've always been into synth and film scoring and programming and I figured it would be great to incorporate those elements and give myself a little bit of a new slant.
NV: No. I don't know why people would say that. But they do. Of course you can use them the wrong way. In some ways these days you don't even need to be a musician there are so many tricks. But the music I recorded is improvisational in the jazz tradition. Playing in bands and reacting to one anotherthen you can put whatever you want on top of that and it doesn't matter.
Sometimes you don't want that. You don't want to have the traditional jazz approach. A couple of the tunes I brought in some of the programming already and played along with it. Which is not traditional. The drummer is playing along to a synth track. But it doesn't take away from what we are doing. It's just a different approach. One that has been used in other types of music sincethe '70s. I know there are purists that say that's not valid. But I'm an open minded person. I feel the more you are open to, the more you incorporate, the more creative your music will be.
AAJ: Even though this was your debut, you were involved in the whole process of putting the album together. Can you talk a little about what you learned about the complexity of the process?
NV: I did a lot of the programming, adding other elements after we recorded them. And I was involved in the mixing process. I learned a lot about mixing which isa tricky business. Because I had a lot of layers it wasn't the kind of thing where you can go in and record for two days, hear it all in the studio, and be done. I was working with a guy who had a home studio and I'd go over and listen to stuff and when you get home you reset your brain and you can hear things differently for whatever reason. Then I would want to change this, change that...That is one of the good things technology allows you to do. If you go into a studio and set it all up on the board, it's enormously expensive and time consuming. Now you can just hook the hard drive up. What happens if we turn up the drums a little? That was good. That took a few weeks. Because I was part of the whole process I feel I have a better understanding of how it all works.
AAJ: You also had some great fellow musicians to work with. How did they get involved in the project?
NV: The guys I hired I'd known for yearssome longer than others. Like Kendrick Scott, a great drummer. We went to Berklee together, so I've known him for years. Matt Brewer, I met playing in New York together. Patrick Cornelius I went to Berklee with. In picking musicians I wanted people that would be great in the studio, professionals, highly proficient on their instruments, and also great listeners, which is the most important thing.
They are all great listeners. When we were playing even though we hadn't toured as a band or played together regularly for years, it didn't matter; they are all such great listeners that the chemistry was strong. That is what I wanted and new it would with them.
AAJ: Let's talk about the final track. It's the only vocal track, a bit pop. How did it happen and how did you get Gretchen Parlato to do it?
NV: Gretchen and I were in Monk Institute together. I wrote that tune and I thought it would be fun to have it on there change. It's a little random compared to the rest of the album, but I thought it was fun and she was willing to do it. So we put it on their. [chuckles]
AAJ: And now for something completely different...
NV: Kind of like "What?" I'm a little bit of a vocalist, so I'm interested in incorporating that into my next project.
AAJ: What so far has been the biggest challenge for you?
NV: Trying to still move in a direction for myself, building a career, while making a living in music.
AAJ: A common theme for jazz musicians.
NV: Not a very a unique problem. Probably most everyone's!
AAJ: Not just for jazz musicians.
NV: [Laughs] No, no. Especially in this era of serious decline in the record business. It was already tough. Now it's like, boy, what's going to happen? I have no idea.
AAJ: What's next for you?
NV: When I am in town I try to do gigs, I'd like to try doing some touring. I'm also working on a new album that I'll probably record next year. I've tried to move in a new direction in so far as being more of a multi-instrumentalist. On [Synesthesia] I played trombone and valve trombone. I'm trying to add piano, trumpet, a little bit of the vocal thing. My next album I'm going to try to do more and really put my stamp on it.
Nick Vayenas, Synesthesia (World Culture Music, 2008)
Dayna Stephens, The Timeless Now (CTA, 2007)
Patrick Cornelius, Lucid Dream (Acoustic Recording, 2006)
Jason Goldman Quartet, The Definitive Standard (JMGJazz, 2005)
Michael Bubl&amp;#233;, Caught in the Act (Reprise, 2005)
Michael Bubl&amp;#233;, Come Fly With Me (Warner Bros., 2004)
Courtesy of Nick Vayenas