Alex Machacek: A Very Tall Tale
From Left: Alex Machacek, Marco Minnemann Performing with UKZ in New York City, 2009
AM: I guess it was around '06. J.K. Kleutgens, the bassist, hired us both and we played a couple of gigs at the Baked Potato. That's when it started. Then with Kai, I think the first time we played together was in '07. We gradually played a little bit more and did a tour in Japan; so, on and off.
AAJ: What do you like about Minnemann's drumming?
AM: Well, I don't get bored. What can you say about Marco? He's got it all. It's amazing; he's like one of those uber-drummers. It's hard to find words for what he's doing. He's a very musical drummer. When you play with him, he really reacts to everything and when you work out stuff with him it's not a problem because, yeah, he can play it.
AAJ: You're obviously attracted to the drums and you yourself have training in classical percussion. Who among drummers most inspired you, apart from Terry Bozzio, whose influence on you is well documented already?
AM: I have to say Phil Gould from Level 42, and I'm talking about when I was really young. I was listening to rock music and stuff, and a friend of mine gave me Level 42's Strategy, The Early Tapes (Polydor Records, 1982), and I really liked Phil Gould's funky drumming. I thought, "Wow, that's cool." I liked his higher-pitched snare sound. From then on, discovering more and more music-well, there were so many drummers, the usual suspects.
AAJ: 24 Tales is 51 minutes of music, but how much time did you spend putting it all together?
AM: Well, I started in 2007 and then I got interrupted by so many things. I started again in '10, but it's really hard to say-a couple of solid months. A couple of really solid months.
AAJ: It's not difficult to imagine that this was a fairly intense project. What was the most challenging aspect of it for you?
AM: One, getting it done. And let's say you are in minute 14, you know that you have to do 50 minutes. It's not like you don't know where you are on the timeline-that's challenging. The other thing was doing every part by yourself, because that's what I've been doing. Marco gave me the solo, but after that it was solitary confinement in my room, which was sometimes a little challenging. And I really have to credit my wife, because I always play her everything ; she's a good listener and tells me if she likes this or doesn't like that. Just for the fact that she was listening to it, she deserves huge credit.
AAJ: Was there ever a moment when you thought it was too much for you and you thought you'd rather not have started?
AM: Oh, many times, but then on the other hand I told myself, "No, come on, I can do this." Of course, you always have doubts whatever you do, at least I do. So, there was always a little doubt factor, but one step at a time.
AAJ: On several of the tracks you play a distinctly impressive piano. You're no slouch.
AM: Do you want to know how I do that? I punch every note in with a mouse click on the computer because I am not a pianist, but I like piano, and this my version of how I would play piano if I could.
AAJ: That must have been incredibly time consuming, no?
AM: [laughs] Yeah, but if you don't have friends, you have a lot of time on your hands, right?
AAJ:: You play a host of instruments on this album. Did you employ the same approach as you did for the piano?
AM: The bass is also programmed- -it's wholly programmed. It was the same approach for everything except the guitar. Putting in the music note-by-note is like doing something in slow-mo-you can really observe the process and it can open your compositional mind. There were two different approaches and they can run in parallel or they can go exclusively.
AAJ: On this CD, your improvisation on guitar is reasonably limited. Was that the intention from the outset, and was there, maybe, a temptation to improvise more because that would have eased the process?
AM: If you were just to improvise to it you would be done in 50 minutes, or I don't know, maybe two hours or ten hours. But for me, Marco's playing is so intricate and there are so many layers of beauty. He's doing so many things that you would automatically miss it if you don't know what he's doing. It really deserves more attention. That's why I thought, "Okay, I won't just go and improvise over it. I really want to capture and put my light on those details." That's how I felt. From the beginning, I wanted to have more of a compositional approach; that's what made the most sense to me.