Oz Noy: No Longer Making Choices
Noy's solos seem to be in constant flux as he weaves in and out of hard-driving rock grooves, jazzy based harmonic progressions and rhythmically complex, often lightening fast, improvisations. Listening to Noy's compositions and solos reveals a musician that may be described as having musical schizophrenia, but also one that has emerged with a voice like no other.
, Will Lee and Anton Fig, among others, Noy's musical identity continued to grow over the years, culminating in Schizophrenic. The fundamental source of Noy's work on this album, and on his previous recording, is his strong sense of groove. Each track takes travels into a new corner of Noy's highly-developed dictionary of grooves, laying down the cushion that allows each musician in the ensemble to come together on every melodic phrase and rhythmic punch while stretching their improvisations to new heights of creativity.
After moving to New York in 1996, Noy surrounded himself with some of the biggest names in the business. Working with musicians such as Dave Weckl
All About Jazz: You draw from a wide variety of musical genres in your writing and performing such as rock, blues, jazz and funk. How would you describe your music to someone who's never heard you before?
ON Noy: I think of it as jazz, but just not with swing grooves I tend to use other kind of grooves. To me it's jazz, but instead of playing swing, I play either funk or rock grooves, but I think about the writing as jazz.
AAJ: After listening to your new CD Schizophrenic, it's apparent that you focus strongly on the groove when writing your tunes. Do you start your writing process with a groove and then build up from there? How does your writing process work?
ON: Everything that I write, on all of my records, is based on groove. What usually happens is I'll come up with a riff and if I end up liking it, I'll put it onto Pro Tools in my home studio. Then I'll add some drums and bass, it can be as short as two or four bars, and if I feel that it's a cool and funky groove, I'll take the vamp and develop a song around it. If you listen to about 80- or 90-percent of my tunes they're based on a groove. I write a groove and than base the rest of the tune around it. Once I find good ideas in terms of a groove or a riff, then I'll go forward and write the rest of the tune from there.
AAJ: Do you go into the recording studio with all of your tunes worked out or do you prefer to let them develop once you start the recording process?
ON: I play every week in New York, which is a blessing because I don't like to go into the studio without having performed those tunes. I just don't believe in recording that way, it's just not my thing. My music is also pretty involved so we have to work on it a bit before laying down the tracks.
What we normally do is record a demo with the band in a rehearsal, then we play those tunes for a long time before going into the studio. For this record, we had played some of these tunes live for a year before we recorded them. Playing tunes live is the only way to get a good organic sound and to get things really happening. There are pluses to recording a track the first time we play it, but with my music I don't believe in that approach.
AAJ: Because you've performed these tunes many times before you record them, do you find that you can go into the studio and just nail them all on the first take?
ON: It's kind of funny, you would think that that's the case but it's not. We play live so much that we know the songs very well, but we really know how far we can take them in a live situation. So it usually takes a few times through in the studio to really lock it down as far as how a tune should sound on the record, compared to the live versions we do. I usually record three to five takes and than take the best one from those takes. It takes some time to get used to the sound in the studio. It's different than performing live, it's very microscopic in a way. So we take a little time to get used to that environment.
ON: First of all I don't have a budget to hire another producer [laughs]. Besides, I don't really know what a producer would add to my music. We've played the tunes live; I know how I want them to sound, so there's not much that an outside producer would add, in my opinion. I wouldn't mind having another ear, in terms of getting the right sounds. It's tricky, with these records we don't have a big budget so we have to go into the studio and lay it down right away.
We can't spend half a day messing around with guitar soundswe have to get the drum sounds, the bass sounds, the guitar sounds and then record right away. That's a very challenging thing to do because I get my sound going and then what we get on tape has to be good enough. If there was a producer, as far as the sonic aspect is concerned, that might have helped. But as far as the music we've played the tunes, we know the music, so I don't think having another producer would have really helped.