All About Jazz: The web's most comprehensive jazz resource

Serving jazz worldwide since 1995
All About Jazz: The web's most comprehensive jazz resource

Interviews

Ben Monder: Le Monde du Monder

By Published: January 1, 2002
AAJ: Tell us about the electric Bebop band and the compositional process there.

BM: People bring in tunes and we play them. Paul usually comes up with an arrangement as far as soloing, but we all have input. We did the last record at the end of a tour, this past November. We had been playing a variety of tunes on the tour, but the record ended up being mostly Paul's originals. Which was fine with me— he's one of my favorite jazz composers.

AAJ: Tell us the differences, if any, of the European circuit versus the American circuit for Motian's band.

BM: I've only done two tours with him, and they've both been in Europe.

AAJ: How about for you, as a solo artist? Where do you do most of your solo gigs with your band? Differences, if any, of the European circuit for you solo? Have you even done any gigs there solo?

BM: I've been to Spain a few times with my band, but outside of that haven't done that much. I need to get on that...

AAJ: Who are the working members of your band? How did you go about assembling such a talented cast of musicians? Who do you gig with most often these days for your own dates? Who are you gigging with most often on the "sideman" front?

BM: These days I'm trying to keep the band to the same people— Theo Bleckmann
Theo Bleckmann
Theo Bleckmann

vocalist
, Kermit Driscoll
Kermit Driscoll
Kermit Driscoll
b.1956
bass
, and Satoshi Takeishi. It's the only way to get inside this very challenging music. And I feel very fortunate to have found them, because besides being great musicians, they're really dedicated to this band and seem to give it a priority.

AAJ: Tell us more about your "career" with Maria Schneider
Maria Schneider
Maria Schneider

band/orchestra
's band and the elements of that gig that most hold your interest musically.

BM: Maria writes really interesting guitar parts. She has a great sense of how to use the guitar as an individual color, not just a reinforcement of horn parts, although that's also effective at times. I'm definitely not just chunking away there. Come to think of it, what ever happened to Chun King?

AAJ: I think it's available as a Japanese import...Ok, how do you see your deal with Arabesque playing out? Are they expecting a certain amount of output from you or a certain product from you? Do you have total artistic control? How do you collaborate with your producer?

BM: I don't think Arabesque is going to do any more of my recordings. But whatever happens in the future, I'm always going to need total artistic control.

AAJ: Where did you find Theo Bleckmann
Theo Bleckmann
Theo Bleckmann

vocalist
? How has it evolved that you have now become such close "collaborators" that you are actually part of each other's bands?

BM: Theo called me to do a duo gig around (I think) 1995, and the chemistry was immediate. We did the duo for a while before I had the idea to add him to my band, which had always been a trio. Theo is endlessly creative, can sing just about anything I put in front of him, and has a huge arsenal of extended vocal techniques. I also love the way he uses electronics. Anyway, our aesthetic visions seem to complement each other.

AAJ: Please tell us a bit about the evolution of the concepts for your most recent stuff. Excavation?

BM: With Excavation, I wanted to effect a marriage of the multifarious and often conflicting elements of Man's unconscious: the urge to self immolation with the urge for self-knowledge; the divine alongside the demonic. But ultimately it is a paean to the apocalypse, to the bracing truth that our darker impulses will prove our undoing, because they so often masquerade as our virtues.

AAJ: WOW...I hear that in there somewhere, actually...

BM: Actually, there's no real concept other than finishing enough tunes to make a record. Although Excavation was unique in the sense that I knew what the order was going to be before it was recorded.

AAJ: Origami?

BM: Origami is Theo's concept.

AAJ: I haven't asked this before because I thought I'd save it for your own stuff. Please tell us about your compositional approach. I mean tunes like "Mistral," "Ellenville" and "Hatchet Face" are extremely complex, with layer upon layer of harmony. Where does this compositional eruditeness come from.

BM: Concerning tunes like you just mentioned, my modus operandi seems to be to bite off more than I can chew, and then chew it anyway. But I don't have an "approach" as such. Each piece is unique and suggests its own problems and solutions, regarding harmony and form. In "Hatchet Face" I explored some serial ideas, but I'm completely unqualified to write a real serial piece, and if the 12 tone police ever found out, I'd be in trouble.

AAJ: I know you wouldn't want to tell anyone how to "listen" to your music. That being said, can you offer any helpful hints ?

BM: Get really stoned.

AAJ: Silly question. Do you write all the parts out?

BM: I write out all the parts except for the drums.

AAJ: What kind of recording technology are you using on these dates? Hard disc or analog?

BM: All three of my records were recorded to analog. I find it best preserves the dimensions of a guitar's sound. A digital reproduction doesn't shimmer in the same way. Flux, my first CD, was recorded live to two track, which was really hard considering the complexity of the music. The other two were done 24 track. As long as I'm recording original music, I'm going to need the flexibility to fix things.


comments powered by Disqus